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

CUMIN Workshop on Hip-Hop, Healing and Wellness

Posted: May 23rd, 2022 | Filed under: News | No Comments »

Blended online and in-person, Friday 24 June, 2022, 11:00-16:00

Organisation: CUMIN https://contemporaryurbanmusicforinclusionnetwork.wordpress.com

CUMIN (Contemporary Urban Musics for Inclusion Network) is an AHRC-funded Network organising a series of Workshops in 2022 and a major conference in 2023. Workshop 2 from this series takes place in conjunction with University of York on Friday 24th June at York’s StreetLife hub (29-31 Coney St., York).

Hip-hop and other forms of contemporary urban music have been claimed to offer a ‘healing power’. The purpose of this workshop is to ask exactly what benefits to health and well-being can be identified, how these benefits can best be maximised, who is being impacted upon and why there is a need for those people to receive support for their health and well-being.

Read the rest of this entry »

RMA: Mission, Name, Identity

Posted: May 11th, 2022 | Filed under: Calls for Papers | No Comments »

Online, Monday 18 July, 2022, 13:00-17:00 (UTC+1)
Organization: Royal Musical Association
Organising Committee: Nicola Dibben, Freya Jarman, Laudan Nooshin

Since its founding as the “Musical Association” in 1874, both music and the ways we understand it have changed significantly. In recent years, there has been a move towards greater diversity within the organisation, both in its membership and in the areas of music study and practice that it encompasses. These changes have highlighted a need to reflect on the identity of the Royal Musical Association. Why might some people object to the remit and name of the Royal Musical Association? And why might others find it unproblematic? We propose to hold a half-day virtual symposium on this topic raising these and related questions.

Read the rest of this entry »

Special Issue of Rock Music Studies

Posted: May 10th, 2022 | Filed under: Calls for Papers | No Comments »

After All This Time: Legacy Acts, Fandom, and Collective Identity

Guest-edited by Andy Bennett and Devpriya Chakravarty (Griffith University, Australia)

Submissions are invited for a special issue of Rock Music Studies on the topic of Legacy Acts, Fandom, and Collective Identity. Popular music is now increasingly acknowledged as a key aspect of contemporary history and heritage. The marketing of popular music as a form of youth-based leisure and consumption from the mid-1950s onward has had significant implications for its cultural meaning as a collective soundtrack and a means through which successive generations of youth have sought to distinguish themselves from the parent culture. This aspect of the relationship between popular music and youth became more pointed during the 1960s and into the 1970s with a new political sensibility among youth, and was also reflected in much of the popular music of the time, which gave rise to a global counter-cultural movement. This sensibility continued to reverberate in subsequent musical genres such as punk, post-punk and new wave.

Read the rest of this entry »

Gender and Jazz: Histories and Scenes

Posted: April 9th, 2022 | Filed under: Calls for Papers | No Comments »

Special Issue of Popular Music History (2023)

From the latter half of the twentieth century there has been increasing interest and work in gender and jazz, with several collections examining the roles of women and gay and lesbian musicians in the jazz world, both historically and contemporarily. Nichole Rustin-Paschel and Sherrie Tucker’s 2008 collection Big Ears: Listening for Gender in Jazz Studies has now become an eminent text in the area, and more recently, the Jazzinstitut, Darmstadt held its 14th Jazzforum on the topic of gender and identity in jazz (resulting in a published collection by the same name in 2016). These, and other collections and articles, have delved into gender and its roles in the jazz world, however there are still many more aspects to explore.  Gender, and gender binaries, have shaped the jazz world since the 1920s. Now in the 2020s, the centennial of the Jazz Age gives us an opportunity to explore the many ways that perceptions of gender have been defined and evolved over the last 100 years. There is a need to examine where we are at in the 2020s, and to give thought to the work ahead as creative practitioners, researchers and historians. This themed issue seeks to explore both the known and unknown about gender in the jazz world. Asides from issues around femininity and masculinity (and men and women) in jazz, we seek articles that explore musicians, bands, and scenes who have been ignored or shunned because their performance of gender and/or sexual orientation did not comfortably fit into the perceptions held by critics and audiences. We also seek explorations around power dynamics and gender on and off the bandstand, #MeToo, and collectives such as We Have Voice and Keychange.

Please submit a short abstract (no more than 200 words) to guest editor, Aleisha Ward: [email protected] Abstracts deadline: 1 June 2022

Western Popular Music and the Making of Indian Modernity 

Posted: April 5th, 2022 | Filed under: Calls for Papers | No Comments »

Special Issue of South Asian History and Culture

From the colonial period onwards a variety of Western musical forms and practices have traveled to the sub-continent interacting with domestic sound cultures and contributing to making of Indian modernity. While other influences from the west – in science and technology, political governance, and market mechanisms – have received considerable academic attention, the impact of western popular music in the Indian context is a relatively ignored area of inquiry. This special issue of South Asian History and Culture is based on the premise that our understanding of Indian modernity is enhanced by a deeper exploration of the ways in which western music – beginning with colonial army bands to MTV and beyond – has contributed to the formation of modern sensibilities in India. The issue focuses exclusively on the western pop music (as opposed to western influences on indigenous music-making) that reached Indian audiences as well as local production of English-language pop and seeks to ask a set of questions surrounding these musical encounters to refine and develop our understanding of how popular cultural flows are constitutive of local modernities. What was/is the nature of the audience for western music in India? Was the reception of this music tied to elite-formation? Can one speak of a sub-culture around western pop? Was there any clearly formed state policy regarding What part did this music play in creating an urban youth culture in postcolonial India? Was the Indian recording industry able to nourish homegrown western pop artists? What the was the role of Indian radio and television in creating an enclave of western pop that was distinct from vernacular popular culture?

Read the rest of this entry »