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

[email protected]

Posted: June 5th, 2018 | Filed under: Calls for Papers | No Comments »

Editor: Koos Zwaan
Deadline: 31st August 2018

[email protected] invites all IASPM members to submit papers for issue 2/2018 on any topic of research related to Popular Music Studies.

[email protected] is the journal of the International Association for the Study of Popular Music (IASPM), an organization established to promote inquiry, scholarship and analysis in the area of popular music. We publish articles and book reviews on popular music of any genre, time period or geographic location. As part of an international network the journal aims to disseminate IASPM members’ research work that is local, transnational, global and/or international. English is the official language but articles may also be submitted in the official language of any of its branches (adding an English abstract). Studies may use a range of research methodologies and critical approaches, including practice as research. As our open access readership is diverse and interdisciplinary, we ask contributors to present ideas in forms accessible to sociologists, musicologists, music critics and practitioners.

Read the rest of this entry »


Riffs: Experimental Writing on Popular Music

Posted: June 5th, 2018 | Filed under: Calls for Papers | No Comments »

The editorial team of Riffs: Experimental Writing on Popular Music and guest editor Simon Jones (author of Scientists of Sound: Portraits of a UK Reggae Sound) invite 300-word proposals for the Volume 2 Issue 2 of Riffs from ECRs, PhD, MA and BA students, and anyone else with an interest in experimental writing on popular music.

“Playing music, for me right, it gets some heads together…. get a little tribal thing going on, you know. Get the frequency up…. Everybody’s on that frequency. It’s always been about that…and exciting people and changing their frequency.” – Robbo Dread, Birmingham 2017

Read the rest of this entry »


2018 Annual Meeting of the New Zealand Musicological Society: ‘Into the Unknown’

Posted: June 5th, 2018 | Filed under: Calls for Papers | No Comments »

30 November to 2 December, 2018

University of Canterbury School of Music, UC Arts at the Arts Centre, 3 Hereford Street, Christchurch.

A journey into the unknown is often a key component of the musicologist’s research process. It may involve the discovery and analysis of unexplored repertoire, probing of music’s role in distant cultures, or experimentation with new pedagogical techniques. It may include the use of new analytical or theoretical methods or interdisciplinary perspectives to shed new light on musical cultures and practices and musical works. Furthermore, the role of music itself can be pivotal in communities facing uncertainty and change. This conference examines the different ways in which music research can involve exploration of the unknown, and investigates the role of musical practices in communities and societies facing the unknown.

Read the rest of this entry »


Measures, Steps, Spaces: the places of music

Posted: May 27th, 2018 | Filed under: Calls for Papers | No Comments »

14th International Meeting of Music and Media, Sao Paulo, 10-12 September, 2018

“The eternal silence of these infinite spaces frightens me…” The instigating quotation from Pascal’s Thoughts refers to the new order of the universe in the seventeenth century as geocentrism is abandoned to adopt heliocentrism. The thought dividing the world into two parts: “from the heavens” (upper) and “from the earth” (lower, corruptible) was broken. The beliefs instituted by the Church were shaken. From then on, the closed celestial world, which was ending, becoming giant, infinite … As it is well known, from then on the world began to be perceived and felt in other contours. For centuries we have seen that both concepts and perceptions of time and space expand their boundaries, arousing curiosity and giving rise to important concerns in the field of science and art. Thinking in the very particular case of the forms of creation, appreciation and musical performance, we verified that these dimensions space-time passed, through the centuries, by different forms of conception. Concerning to musical composition, space has gradually become a parameter, giving rise to other categories (environment, sound landscapes, etc.). Gradually, aesthetic appreciation was also conditioned by the various technical means that emerged (devices, listening places, sound territories) and their possibilities of use. These same conditions would imply changes in performance (a drama to three, Zumthor would say) irreversibly. In another aspect, space unfolds its physical dimension into symbolic, scrutinizing itself in places and territories. Songs, practices and repertoires are limited to their propagation capacity and to the groups that produce them, configuring acoustic communities. According to the Brazilian geographer Milton Santos, space allows the construction of territories: practiced, lived, disputed. Their constructions of meaning are guided by the uses and appropriations that groups and subjects make, in a complex elaborated between fixed and flows.

Read the rest of this entry »


Arts and Power – Policies in and by The Arts

Posted: May 25th, 2018 | Filed under: Calls for Papers | No Comments »

Working Group Sociology of the Arts of the Cultural Sociology Section in the DGS (German Sociological Association)

Conference at the Leuphana University of Lüneburg, Germany, November 22 and 23, 2018

Concepts of power and domination are central for sociology since its beginnings. Classical theorists such as Marx, Weber, Gramsci, Adorno, Foucault, Bourdieu etc. developed these concepts as fundamental sociological terms; there is almost no (macro-)sociological discourse that does not draw from these notions.

In general sociology, more abstract and theoretical concepts of power and domination are discussed, divesting from empirical explorations. Dispositifs, constraints and violence are relational concepts that are defined by the enforcement of volition against resistance (Weber). We are convinced that this „enforcement of volition“ is also well suited for the explanation of structures and processes in the arts, in their production, imagination, communication, distribution, critique, and consumption. In addition, the arts are means for enforcing power and domination (see among others Adorno’s notion of cultural industry more than 70 years ago, or Bourdieu’s theory of distinction).

Read the rest of this entry »