Posted: June 19th, 2018 | Filed under: Calls for Papers, IASPM Conferences | No Comments »
11-13 January 2019, RUANG Think City, Kuala Lumpur
Deadline for abstracts: 31 August 2018
The IASPM-SEA Conference (IASPM-SEA 2019), hosted by RUANG Think City, will take place on Friday 11th to Sunday 13th January 2019 at Kuala Lumpur, Malaysia. This international conference will feature research and performances about the interaction, convergence and contestation of popular music with traditional music in Southeast Asia. We also welcome proposals of / from / on any region that relate to the conference theme or subthemes.
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Posted: May 16th, 2018 | Filed under: Calls for Papers, IASPM Conferences | No Comments »
XX Biennial IASPM Conference
School of Music, The Australian National University
Canberra, Australia, 24–28 June 2019
As certain songsters and songstresses have noted, seasons turn, turn, turn, even if you are talking about a revolution. While global warming alters seasonal cycles with the aid of neoliberal and (pseudo)socialist forms of capitalism, and waves of societal turmoil follow each other with varying degrees of authoritarianism in different parts of the world, popular music studies remains committed to critical enquiry of music of the masses, the everyday, a variety of subcultures, the megastars, all with their revolutionary potential. Faced with the increasing worldwide austerity in the humanities and social sciences, caused by short-sighted research funding policies that purportedly aim at revolutionary technological and business innovations, popular music studies also struggles with its future directions. Whither popular music studies and where to turn?
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Posted: February 15th, 2018 | Filed under: Calls for Papers, IASPM Conferences | No Comments »
IASPM-ANZ 2018 Conference December 3-5, 2018
Waikato Institute of Technology (Wintec)
Hamilton, Aotearoa/New Zealand
Music exists in all aspects of our lives. It provides us with company; it is a part of rituals and celebrations; it creates dialogues with visual images through films and games; indeed, other media turn to music to stimulate sensations, affects, even tastes and smells. People participate in music, they play along, they accompany, they are accompanied, and thereby they may gain skills, knowledge, pleasure, companionship and so on. Music provides the means for performing and creating identities, which could relate to gender, culture or other identifiers. And through playing along, when we respond to rhythms and sounds with gestures, we might say we are also creating the music itself.
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Posted: November 1st, 2017 | Filed under: Calls for Papers, IASPM Conferences | No Comments »
University of Huddersfield, UK
3rd-5th September 2018
This is a call for papers for a joint conference arranged by four organisations:
- International Association for the Study of Popular Music UK & Ireland Branch (IASPM UK&I)
- Association for the Study of the Art of Record Production (ASARP)
- Dancecult: Electronic Dance Music Culture Research Network
- International Society for Metal Music Studies (ISMMS)
Hosted by the University of Huddersfield, this event will combine the IASPM UK&I Biennial Conference, with the 13th Art of Record Production Conference (ARP), a conference of ISMMS, and feature the additional participation of Dancecult. The theme of the conference is Crosstown Traffic: Popular Music Studies Theory and Practice.
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Posted: October 2nd, 2017 | Filed under: Calls for Papers, IASPM Conferences | No Comments »
IASPM-Canada Annual Conference
University of Regina, Regina, Saskatchewan
May 27-29, 2018
Submission deadline: November 30, 2017
The 2018 IASPM-CA annual conference will take place at the University of Regina from May 27-29 in conjunction with the Congress of the Humanities and Social Sciences, which has announced “Gathering Diversities” as its theme (the Congress theme is described at https://www.uregina.ca/congress2018/theme.html). In conversation with this broader theme, IASPM-CA encourages participants to explore questions concerning popular music, its aims and claims regarding diversity, and its impact in promoting equity in a wide range of contexts and scenes. Diversity has long been a stated goal for institutions, organizations, and communities of all types, yet diversity remains a complex and contested issue, particularly in the field of popular music. To what extent does popular music productively model and promote diversity, and to what extent does diversity extend beyond surface appearances to institutional structures? To what extent is diversity in itself a laudable goal if not accompanied by equity and social justice? How do popular music and popular music studies either promote or impede diversity, equity, and social justice?
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