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

IASPM UK and Ireland Biennial Conference: Worlds of Popular Music

Posted: September 17th, 2013 | Filed under: Calls for Papers, IASPM Conferences | No Comments »

University College, Cork, 11-14 September 2014

Keynote Speaker: Professor David Hesmondhalgh (University of Leeds)

Keynote title: ‘Music and the Affective Turn’

Popular music creates worlds around its listeners, temporary, often intimate, and feelingful environments within which the act of listening occurs. It meanwhile plays significant roles in the global flows of capitalism, politics, tourism and migration, and inflects the virtual spaces opened up online by digital technology. New research work, of all approaches, is welcome; those proposing papers should make clear how their presentation will shed new light on the relationships that emerge between types or instances of popular music and their most salient surrounding contexts, for instance, along the lines of one of the following questions:

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2014 IASPM-US Annual Conference: ‘Music Flows’

Posted: September 3rd, 2013 | Filed under: Calls for Papers, IASPM Conferences | No Comments »

Music flows. Evocative metaphorically while directing our attention to the global circulation of songs, the theme for the 2014 IASPM-US Annual Conference takes its inspiration from the UNC campus-wide Water initiative.

Water in its many forms is a ubiquitous subject of pop songs. Whether as metaphor or literal reference, water imagery as a theme in popular music has been used to celebrate identity, express emotions, address environmental issues, convey pleasure, pay homage to spiritual beings, and shape communities of resistance. Here we take up notions of fluidity and flow to address not only what many deem our most important natural resource, but to consider the ways in which water’s qualities may yield productive insights into the present and future of popular music.

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IASPM UK and Ireland Postgraduate Conference 2013: The Cultural Value of Popular Music

Posted: May 16th, 2013 | Filed under: Calls for Papers, IASPM Conferences | No Comments »

5th and 6th September, University of Glasgow

The 2013 IASPM UK and Ireland postgraduate conference, to be held at the University of Glasgow, invites papers exploring the cultural value of popular music.  In light of the AHRC’s recently launched two-year Cultural Value Project (www.ahrc.ac.uk/funded-research/funded-themes-and-programmes/cultural-value-project), the conference will focus on both the experience of popular music and the economic and social benefits such an experience provides.

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Bridge Over Troubled Waters: Challenging Orthodoxies

Posted: February 4th, 2012 | Filed under: IASPM Conferences | No Comments »

IASPM 17th Biennial Conference
24-28 June 2013
Universidad de Oviedo
Place: Gijón, Spain

The popular music studies field in all its inter-disciplinarity has been characterised by encounter, dialogue and exchange, and also by tension. Our title ‘Bridge Over Troubled Waters’ takes the triple metaphor of bridge, inferring meetings and communication; trouble, indicating stresses and power struggles; and water, indicating flow and travel, as fertile themes for debate at the 17th Biennial IASPM Conference. We propose five streams (TRACKS) dealing with popular music and history, marginality, copyright, collectivities, and space. Extending across all streams is the topic of technology.

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Biennial IASPM-UK/Ireland conference: Imagining Communities Musically: Putting Popular Music in its Place

Posted: November 9th, 2011 | Filed under: Calls for Papers, IASPM Conferences | 2 Comments »

Biennial IASPM-UK/Ireland conference
September 5-7, 2012

Media City UK, Salford Quays, Manchester

Albion … Chocolate City … Highway 61 … Route 66 … Wonderland … Strawberry Fields … the Crossroads … Beale Street … Haight Ashbury … Music City U.S.A.

Popular music has always been affiliated with physical places, both literal and imaginary. It is one of the ways that the inhabitants of those locations define both their residence and themselves. To borrow the components of the title of Benedict Anderson’s widely read book, one of the most telling ways communities imagine themselves is acoustically. An indissoluble connection exists between musical expression and geography, both the landscape of actual locale and that conjured up by the mind. The persistent academic interest in the notion of scenes reflects this set of circumstances. So too does the research that examines how the state defines itself sonically and, in some cases, pursues its objectives with the assistance of acoustic apparatus, as in the torture of prisoners by a barrage of undesired sound. In addition, there are those composers, performers, compositions and performance practices that are thought to be quintessential expressions of states, peoples or defined populations.

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