Category Archives: CFP

Calls for paper for IASPM Conferences and others.

Call for Proposals: IASPM-Canada and US 2016 Annual Conference —– Appel à contributions: colloque annuel conjoint 2016 IASPM-Canada et IASPM-États-Unis

Le français suit.

Call for Proposals (Abstracts due December 1, 2015)

International Association for the Study of Popular Music, US and Canada Branches
2016 Annual Conference
Calgary, Alberta (Canada) May 28-30, 2016

Wanna Be Startin’ Something: Popular Music and Agency

Making and listening to music are agentive processes, involving a network of actions and transactions: acts of expression, acts of faith, acts of sound and silence, acts of rebellion. Through musical choices we act and impact our world, each other and our environment, shaping our individual and communal experiences. As we create and consume music, we respond to, reinforce, and reconfigure the social structures that frame our lives.

Our theme encourages participants to explore the difficult, delicate negotiations of power within which music is situated, and which in turn permeate the popular music industries of the twenty-first century. Who is in charge in the production and consumption of music? What role does music play in the social revolutions of disenfranchised communities? How do music and its technologies inform our responses to injustice? How do we censor and empower bodies through music?

The 2016 IASPM-US Annual Conference and IASPM-Canada Annual Conference will take place from May 28-30, 2016 at the University of Calgary, Canada, as part of the Congress of the Humanities and Social Sciences. Papers related to Canadian themes are especially welcome.

Papers may address one of the following subthemes, other issues regarding music and agency, or – as always – any other topic in the study of popular music.

1) Who Runs the (Music) World?

The dynamics of production and consumption remains a central theme of popular music studies. It is also vital to the new music industries of the twenty-first century, in which a multimediated sense of consumer choice and participation has become a marketing mainstay. Recent pop processes—streaming services, reality competitions, the rise of YouTube stars, the burgeoning Internet fan community—have been characterized as democratizing, providing increased access, choice, and interaction between listeners, artists, and producers. But as musical consumers find new forms of empowerment, the emergence of neoliberal corporate policies and development of the 360° deal may perpetuate the dominant power structures of the music industry. So whose voices are heard? And who listens?

How are new musics and new technologies reshaping ideas about musical agency among fans? How do musicians work to retain or reclaim agency in the popular music industry’s current political economy? In what generative or productive ways do individual and communal agencies intersect?

2) Music and Social Justice

Recent years have seen the emergence of new and renewed discourses critiquing the continued impact of poverty and structural racism in the lives, and deaths, of North Americans. Occupy Wall Street and its offshoots protesting economic inequality have counted musicians among their most vocal proponents, and music has become integral to the progress of the movement. Beginning in the U.S. and spreading to Canada, the Black Lives Matter movement has sparked new, charged conversations about injustice. Among the voices of protest, those of musicians have persistently driven the conversation. With new songs and revivals of familiar ones, Black artists have called listeners to attention, called them out, and called for action. They have echoed the mantras shouted by marchers in the streets, and in turn their own words have become rallying cries there. The current moment perhaps marks the most vital presence of protest music in American public culture since the beginning of the Iraq war.

In both the U.S. and Canada, indigenous peoples continue to fight against racial violence, disenfranchisement, discrimination, and misrepresentation. Discourse about Native/First Nations/aboriginal cultural appropriations has entered a broader public forum in the past few years, recently explicitly acknowledged in the banning of faux “Native American headdresses” at several music festivals in North America and Europe. In Canada, music has helped to fuel the grassroots movement Idle No More, which not only critiques renewed challenges to indigenous sovereignty, but also contributes leading voices to the fight for environmental protection.

These movements have also provoked reexaminations of the intersectionalities that permeate marginalized experiences in the U.S. and Canada, where people of color in particular face gendered, classed, religious, and ableist discrimination and violence.

In these and other contexts, we ask: How does music empower individuals and communities in the face of injustice? How do music and social media intersect in responses to oppression?

3) Music and Dis/Ability

Studying music and agency in Western frameworks inherently means studying ability, examining intersecting ideas and ideologies about extraordinary bodies and minds, about how they are allowed to act. Both musical bodies and disabled ones are inscribed with intertwined notions of difference and supernatural interventions, and positioned outside the statistical realm of the “normal.” The stories of our most idolized popular musicians are entangled in public mythologies of mental illness and addiction; disabled bodies are celebrated only when they also inhabit discourses of genius. The music industry operates with the assumption that consumers experience music in the same ways, though the sensory processing of music works diversely among many individuals and even communities.

How do discourses of ability and disability support and silence musicians?

How does musical ability impact a musician’s agency? How is the dis/abled body inscribed in popular song? Following the 25th anniversary of the Americans With Disabilities Act, how accessible is popular music? And how do accessibility practices shape the experiences of fans and artists?


We welcome proposals on these and other themes. Please submit proposals via a single Word document [labeled with last name_first name.docx] to by December 1, 2015. Individual presenters should submit a paper title, 250-word abstract, and author information including full name, institutional affiliation, email address, and a 50-word bio. Panel proposals, specifying either 90 minutes (three presenters) or 120 (four), should include both 125-word overview and 250-word individual proposals (plus author information), or 250-word overview and 50-word bios (plus names, affiliations, and email addresses) for roundtable discussions. Please indicate any audio, visual, or other needs for the presentation; each room will have sound, projector, and an RGB hookup. We also welcome unorthodox proposals that do not meet the above criteria, including ideas for workshops, film screenings, and other non-traditional formats. For more information about the conference, send email inquiries to Katherine Meizel, program committee chair, at You will receive an email confirming receipt of your submission.


2016 program committee:

Chair: Katherine Meizel (Bowling Green State University),

Committee: David Blake (University of Akron), Kimberly Mack (University of Toledo), Andrew Mall (Northeastern University), Owen Chapman (Concordia University), Brian Fauteux (University of Alberta), Charity Marsh (University of Regina).


Appel à contributions (propositions demandées au plus tard le 1er décembre 2015)
Association internationale des études en musique populaire, chapitres états-unien et canadien
Colloque annuel 2016
Calgary, Alberta (Canada), 28-30 mai 2016

Wanna Be Startin’ Something : Musique populaire et agentivité

Écouter et jouer de la musique sont des processus d’agentivité (agency) impliquant un réseau d’actions et de transactions: des actes d’expression, des actes de foi, des actes de son et de silence, des actes de rébellion. Grâce à nos choix musicaux, nous agissons et nous produisons ainsi un effet sur le monde, sur l’autre et sur l’environnement, façonnant nos expériences individuelles et collectives. En créant et consommant de la musique, nous renforçons, reconfigurons et répondons aux structures sociales qui encadrent nos vies.

Le thème du colloque encourage les participants à explorer les négociations complexes de pouvoir au sein desquelles la musique est située, et qui, à leur tour, imprègnent les industries de la musique populaire du vingt-et-unième siècle. Qui est en charge de la production et de la consommation de la musique ? Quel est le rôle de la musique dans les révolutions sociales des communautés privées de leurs droits ? Comment la musique et ses technologies informent-elles nos réponses face à l’injustice ? Comment pouvons-nous censurer les corps, mais également les incarner, par la musique ?

Le colloque annuel 2016 d’IASPM États-Unis et le colloque annuel 2016 d’IASPM-Canada auront lieu du 28 au 30 mai 2016 à l’Université de Calgary, au Canada, dans le cadre du Congrès des sciences humaines et sociales. Les communications abordant des thèmes canadiens sont particulièrement bienvenues.

Les communications peuvent aborder l’un des sous-thèmes suivants, soit d’autres questions concernant la musique et l’agentivité. Comme toujours, tout autre sujet dans l’étude de la musique populaire peut être abordé.

1) Qui dirige le monde (de la musique)?

La dynamique de la production et de la consommation reste un thème central des études de la musique populaire. Cette dynamique est également très importante pour les nouvelles industries de la musique du XXIe siècle, où le choix et la participation multimédia des consommateurs sont devenus un pilier de la mise en marché. Des phénomènes récents de la musique populaire – les services de diffusion en continu, les concours de téléréalité, l’ascension de vedettes YouTube, les communautés de fans sur Internet en plein essor – ont été considérés comme une démocratisation, donnant un meilleur accès, un meilleur choix et la possibilité d’interaction entre les auditeurs, les artistes et les producteurs. Mais comme les consommateurs de musique trouvent de nouvelles formes de responsabilisation, l’émergence de politiques néolibérales et le développement d’accords 360° peuvent perpétuer les structures de pouvoir dominantes de l’industrie de la musique. Conséquemment, quelles sont les voix entendues ? Et qui les écoute ?

Comment les nouvelles musiques et les nouvelles technologies transforment-elles les idées sur l’agentivité musicale parmi les fans ? Comment les musiciens travaillent-ils à conserver ou à récupérer leur agentivité au sein de l’économie politique actuelle de l’industrie de la musique populaire ? De quelles façons les agentivités individuelles et communautaires se croisent-elles ?

2) La musique et la justice sociale

Au cours des dernières années, nous avons vu l’émergence de discours nouveaux et renouvelés critiquant l’impact continu de la pauvreté et du racisme structurel dans les vies et les morts des Nord-Américains. Le mouvement Occupy Wall Street et ses ramifications, protestant contre les inégalités économiques, ont compté, parmi leurs plus fervents défenseurs, des musiciens. La musique est devenue partie intégrante de la progression de ce mouvement. Débutant aux États-Unis, puis se propageant au Canada, le mouvement Black Lives Matter a suscité de nouvelles conversations difficiles portant sur l’injustice. Les voix de musiciens étaient parmi celles qui ont le plus approfondi la conversation. Avec de nouvelles chansons et aussi des reprises, des artistes noirs ont interpellé l’attention des auditeurs, et ont appelé à l’action. Ils ont fait écho aux slogans scandés par les manifestants dans les rues, et à leur tour, leurs propres mots sont devenus des cris de ralliement. Nous vivons peut-être la période la plus foisonnante en terme de musique de protestation dans la culture publique américaine depuis le début de la guerre en Irak.

Aux États-Unis et au Canada, les peuples autochtones continuent de se battre contre la violence raciale, la privation de droits civiques, la discrimination et les mauvaises représentations. Au cours des dernières années, le discours sur les appropriations culturelles des Autochtones/Premières nations est devenu un forum public élargi, au point où les fausses « coiffes amérindiennes » ont récemment été interdites de plusieurs festivals de musique en Amérique du Nord et en Europe. Au Canada, la musique a contribué à alimenter le mouvement populaire Idle No More, qui non seulement articule une critique renouvelée des défis de la souveraineté autochtone, mais contribue également aux discours pour la protection de l’environnement.

Ces mouvements ont également provoqué de nouveaux questionnements face aux intersectionnalités qui imprègnent les expériences marginalisées aux États-Unis et au Canada, où les personnes de couleur, tout particulièrement, font face à de la discrimination et de la violence sexuée, classée et religieuse.

Dans ce contexte, nous nous demandons : comment la musique responsabilise les individus et les communautés face à l’injustice ? Comment la musique et les médias sociaux se croisent-ils dans les réponses face à l’oppression ?

3) Musique et In/capacité

Étudier la musique et l’agentivité dans le contexte occidental signifie étudier la capacité (ability), analyser les idées et les idéologies qui se croisent à propos de corps et d’esprits extraordinaires, examiner les façons dont ces derniers sont autorisés à agir. Le corps handicapé et le corps musical sont tous les deux caractérisés par des notions entrelacées de différence et d’interventions surnaturelles, et ils sont positionnés en dehors du domaine statistique du « normal ». Les histoires de musiciens consacrés sont empêtrés dans des mythologies de maladie mentale et de toxicomanie ; les corps handicapés sont célébrés seulement quand ils incarnent également des discours de génie. L’industrie de la musique fonctionne selon l’hypothèse que les consommateurs font tous l’expérience de la musique de la même manière, même si le traitement sensoriel de la musique fonctionne différemment d’un individu à un autre, et même d’une communauté à une autre.

Comment les discours de la capacité et de l’incapacité soutiennent-ils ou rendent-ils muets les musiciens ?

Quels sont les effets de la capacité musicale sur l’agentivité d’un musicien ? Comment le corps in/capable est-il inscrit dans la musique populaire ? Suivant le 25e anniversaire de l’Americans with Disabilities Act, où en est l’accessibilité à la musique populaire ? Et comment les pratiques d’accessibilité façonnent-elles les expériences des fans et des artistes ?

Nous acceptons des propositions sur ces thèmes et d’autres. Veuillez soumettre votre proposition sous la forme d’un seul document Word (nommé ainsi : nom de famille_prénom.docx) à l’adresse courriel, au plus tard le 1er décembre 2015. Les propositions de présentateur individuel doivent comprendre le titre de la communication, un résumé de 250 mots, et les informations sur l’intervenant, soit le nom complet, l’affiliation institutionnelle, l’adresse courriel, et une courte biographie de 50 mots. Les propositions pour une séance doivent préciser si elle fait 90 minutes (trois présentateurs) ou 120 minutes (quatre présentateurs). Elles doivent inclure à la fois aperçu global de 125 mots, en plus des propositions individuelles de 250 mots (plus les informations sur les intervenants). Les propositions pour les tables rondes doivent comprendre un aperçu de 250 mots et les biographies des intervenants de 50 mots (plus les noms, les affiliations, et les adresses courriel). Veuillez indiquer tout besoin audio, visuel, ou autres pour la présentation; chaque salle aura du son, un projecteur et un raccordement VGA. Nous encourageons également l’envoi de propositions qui ne répondent pas aux critères ci-dessus, y compris des ateliers, des projections de films, ou d’autres formats non traditionnels. Pour plus d’informations sur le colloque, envoyez vos questions par courriel à Katherine Meizel, présidente du comité de programmation, au Vous recevrez un courriel confirmant la réception de votre proposition.

Le comité de programmation 2016 :
Coordonnatrice : Katherine Meizel (Bowling Green State University),
Comité : David Blake (University of Akron), Kimberly Mack (University of Toledo), Andrew Mall (Northeastern University), Owen Chapman (Université Concordia), Brian Fauteux (University of Alberta), Charity Marsh (University of Regina).



CFP – IASPM Canada 2013 “Music and Labour”


English version follows the French…PDF Version is here.

The program committee for the 2013 conference is / Le comité de programme de la conférence 2013 est:

William Echard (chair)
Christina Baade
Susan Fast
Kate Galloway
Nicholas Greco
Craig Jennex
Serge Lacasse
Matt Stahl


30e colloque annuel de l’IASPM-Canada

McMaster University

23-26 mai 2013

Date-limite pour les propositions: 15 NOVEMBER 2012

Depuis les premiers jours des études de la musique populaire, des concepts liés au travail ont été d’une grande importance à la fois pour leur richesse intellectuelle et leur habileté à relier les pratiques académiques à des actions politiques et sociales plus grandes. Avec la vitesse grandissante de la mondialisation et du réseautage numérique, qui ont profondément modifié la nature du travail musical, il est maintenant crucial de réfléchir à l’utilisation des idées déjà existantes, à leur actualisation, mais aussi au développement de nouveaux concepts, afin de répondre efficacement à ces nouveaux contextes. De plus, la récente récession économique mondiale pose, de manière urgente, la question du travail et de la musique, avec des effets à la fois sur la production et la consommation, et ce, de multiples manières.

Le site du colloque, à McMaster University à Hamilton, en Ontario, résonne à la fois avec l’histoire ouvrière canadienne, et avec la transformation contemporaine et la réinvention des espaces urbains dédiés tout d’abord à l’industrialisation. Ces histoires sociales, de concert avec la réputation de ville d’acier de «Hammer» (le surnom de Hamilton donné par ses résidents), se connectent à de nombreux fils historiques et culturels de musique populaire à Hamilton : les scènes blues, punk et indie de la ville, des institutions comme le Grant Avenue Studios (fondé par Daniel et Bob Lanois avec Bob Doige) et Sonic Unyon Records, les routes empruntées par les musiciens en tournée, et les récentes tentatives de renouveler l’espace urbain autour des arts.

Quoique les propositions au sujet de la musique populaire en général sont les bienvenues, le comité organisateur vous invite à proposer des communications individuelles, des séances, des ateliers ou des performances à propos du thème du colloque, incluant, mais ne se limitant pas, aux suggestions suivantes :

  • La place de la musique populaire au sein du mouvement ouvrier
  • Le rôle de l’industrie de la musique populaire dans la formation du travail musical
  • Les manières dont les réflexions sur la musique comme travail sont affectées par les idéologies de la race, du genre (gender), de la classe sociale, de l’âge, de l'(in)validité, etc.
  • L’impact de la numérisation et des réseaux sociaux sur la nature de la musique populaire et du travail musical
  • Droits d’auteur, marchandisation et travail musical
  • La musique populaire au travail, au bureau
  • Le travail que constituent les études en musique populaire
  • Faire de la musique comme travail incarné, incluant comme travail de reproduction
  • Les perspectives théoriques et activistes sur la nature fluide du travail musical et sa situation sociale, économique et politique

Nous acceptons maintenant les propositions pour des communications, des ateliers, des performances ou d’autres formes de présentation. Les résumés pour des communications individuelles, des tables-rondes et des ateliers ne devraient pas excéder 300 mots; les propositions pour des séances devraient inclure le résumé de la séance entière (300 mots max.) ainsi que les résumés de chacune des communications individuelles formant la séance (300 mots max.). Il est possible que le comité de programmation accepte une séance, mais refuse une communication individuelle faisant partie de cette séance.

Le comité organisateur appliquera au CRSH pour une subvention. Le CRSH nous demande de fournir chacune des informations suivantes pour les présentateurs. Veuillez nous les soumettre, avec votre résumé de 300 mots, dans un seul document Word (utilisez votre nom de famille comme titre de document, par exemple «Hendrix.doc» ET NON «résumé IASPM.doc»). N’envoyez pas de document PDF, svp.

Statut d’étudiant ou de non-étudiant

Nom de famille


Initiales (s’il y a lieu)

Organisation (i.e., université)



Liste des diplômes, spécifiant la discipline, débutant avec le plus récent.

Liste des postes occupés récemment pertinents à l’événement. Débutez avec le plus récent.

Liste des publications récentes pertinentes à l’événement. Débutez avec la plus récente.

Titre abrégé (150 caractères) de votre proposition

Résumé abrégé (100-150 mots) de votre proposition (en plus du résumé de 300 mots, svp)

Veuillez soumettre votre résumé en français ou en anglais, dépendamment de la langue de présentation de votre communication, au plus tard le 31 octobre 2012 à william_echard (at)

Les présentations seront limitées aux 20 minutes régulières, suivies de 10 minutes de questions et commentaires, alors que les autres types de présentations seront limitées à 60 minutes. Tous/tes les participants/tes doivent être membres en règle de l’IASPM-Canada ou prouver leur inscription à une autre branche nationale de l’IASPM. L’information relative à l’inscription se retrouve ici.

Pour les questions relatives au colloque, contactez la chaire du programme, William Echard (william_echard (at), ou les responsables des arrangements locaux, Christina Baade (baadec (at) et Susan Fast (fastfs (at)

Date-limite pour les propositions:

15 NOVEMBER 2012

Ceux et celles qui appliquent seront notifiés des décisions finales du comité de programmation au plus tard le 1er janvier 2013.



IASPM-Canada 30th Annual Conference

McMaster University

23-26 May 2013

Deadline for Proposals: NOVEMBER 15, 2012

From the earliest days of academic popular music studies, concepts of labour have been of paramount importance both for their intellectual richness and for their ability to link academic practices with broader patterns of social and political action. More recently, the increasing pace of globalization and digital networking have profoundly altered the nature of musical labour, making it crucial to think about how existing ideas may continue to be of use, how they may need to be changed, and what new concepts might be needed to address similar questions in these new contexts. In addition, the recent global economic downturn gives issues concerning music and labour a new urgency, impacting both production and consumption in myriad ways.

The site of this conference, at McMaster University in Hamilton, Ontario, resonates both with the history of labour in Canada and with the contemporary transformation and reinvention of those urban spaces which originally developed around heavy industry. These broad social histories, along with the gritty, steeltown reputation of “the Hammer” (as it is sometimes called by locals), intersect with several vibrant strands of popular music history and culture in Hamilton: the blues, punk, and indie scenes that have developed in the city, institutions like Grant Avenue Studios (started by Daniel and Bob Lanois and Bob Doige) and Sonic Unyon Records, the routes traveled by touring musicians, and recent arts-centred efforts of urban renewal.

While proposals on any topic relating to popular music are welcome, the conference organizers especially invite proposals for individual presentations, panels, workshops or performances on topics related to the theme of the conference, including, but not limited to, the following:

  • Popular music’s place in the politics and policy of the labour movement
  • The role of the popular music industry in shaping musical labour
  • How understandings of popular music making as work are affected by ideologies of race, gender, class, sexuality, age, (dis)ability, etc.
  • The impact of digitization and networking on the nature of popular music and musical labour
  • Copyright, commodification, and musical labour
  • Popular music in the workplace
  • The labour of popular musical scholarship
  • Musicking as embodied labour, including reproductive labour
  • Theoretical and activist perspectives on the changing nature of musical labour and its social, economic, and political situation

Proposals for single papers, workshops, performances or other forms of presentation may be submitted. Abstracts for individual papers, roundtables, and workshops should be no longer than 300 words; proposals for panels should include an abstract for the panel as a whole (300 words max.) as well as an individual abstract for each paper proposed for the panel (300 words max.). It is possible that the program committee may accept a panel but reject an individual paper on that panel.

The local organizers will be applying to SSHRC for conference funding. SSHRC requires the following information from each presenter. Please submit this, along with your 300-word abstract, in a single Word document (use your last name as the document’s file name–e.g., “Hendrix.doc” NOT “IASPM abstract.doc”). Please do not submit your proposal as a PDF file.

Status as a student or nonstudent

Family Name

Given Name


Organization (i.e., university)



List degrees, specifying the discipline, starting with the most recent.

List recent positions and those relevant to the event. Start with the most recent.

List recent publications and those relevant to the event. Start with the most recent.

150 char title of proposed presentation.

100-150 abstract of proposed presentation.

Please submit your abstract in French or English, depending on the language in which the paper will be presented by 31 October 2012 to william_echard (at)

Papers will be limited to a standard 20-minute length followed by 10 minutes of questions, whereas other presentations will be limited to 60 minutes. All participants must be members of IASPM-Canada or provide proof of membership in another IASPM national chapter. Membership information is available on the membership page.

For questions about the conference, contact program chair, William Echard (william_echard (at), or local arrangements co-chairs, Christina Baade (baadec (at) and Susan Fast (fastfs (at)

Submission deadlines:

NOVEMBER 15, 2012

Applicants will be notified of the program committee’s final decisions by 1 January 2013.


CFP – IASPM-US: Liminlity and Borderlands

Call for Proposals

Liminality & Borderlands

International Association for the Study of Popular Music, US Branch

2013 Annual Conference Austin, Texas,

February 28 – March 3, 2013

Deadline for proposals is Thursday, November 1.

Crossover stars, vampires and zombies, gender-bending divas and divos, international sensations who truck cultural ideas across borders: popular music and culture are full of performers and characters who move through and effectively occupy zones of “in-betweenness,” carrying signifiers of more than one identity at a time while fully embodying none. In light of the many pop culture projects that inhabit these less-definite stations and/or spread across and blur boundaries, the 2013 IASPM-US Conference in Austin, TX, will explore the ideas of liminality & borderlands in popular music, focusing on those things (artists, genres, textures, developments, etc.) that are “neither” and “both” at the same time.

Whereas liminality’s temporal underpinnings index as a processual transition betwixt what has been and what is yet to come, the notion of borderlands (exemplified by the work of Gloria Anzaldúa) attends to the dynamic and tangible spaces that exist between binaries and geographies. Both concepts challenge norms by unsettling accepted practices and conventions, but can also serve as bases for disenfranchisement, preventing groups from forming the sort of cohesive, affirmative identities that emerge from traditions and shared histories. In-betweenness can function as a position of emancipatory release or an intermediate zone of structured initiation. Thus, depending on one’s experience, both the process and state of straddling border(s) may be characterized primarily by either lack or abundance. The 2013 IASPM-US conference will consider a variety of the possible motivations and ramifications of liminality and existing at the borderlands. The following ideas represent topics that may be explored at the conference, but we anticipate and encourage many more approaches to liminality & borderlands and will consider any topic on popular music for inclusion on the program:

Inter-mediate(d) Identities:

As performers and audiences seek out unique experiences of music, they often find themselves at the border of many different genre distinctions without fully belonging to any one. Some musicians, like MIA, play at international boundaries, existing in many spaces at once while risking being misunderstood. Still others—Lady Gaga, Elvis Presley, LMFAO—work with racial and gender signifiers that suspend them between traditionally constructed groups, expanding both their mobility and their vulnerability. In what ways do musicians and listeners construct multiple, overlapping identities through popular music? How are these identities critiqued, ratified, or sometimes even created by the mainstream? How do the political, aesthetic, and commercial aspects of music performance intersect in material ways that are lived out in and on the body?

Emergent Performances:

As a form of expression, music performance is necessarily liminal, with intention and interpretation always dynamically moving among all participants in a communicative web. Through performance, artists are transformed and audiences lose themselves in the spatial and temporal liminality it engenders. How do we understand performance as on the one hand multivalent and on the other nascent? How can we study popular music as an emergent practice? And what does it sound like when framed this way? What are the unique roles that listeners and performers play in the in-between spaces of performance? When musicians discuss their performances, do they tend to understand what they’re doing more as emergent or fixed? What roles are played by technology to encourage us to understand music as either emergent or fixed?

Methodologies and Pedagogies in Progress:

Popular music studies is a relatively new field, and its boundaries and practices are in constant negotiation. When considering liminality & borderlands in popular music, it seems helpful to also think about the “in-betweenness” of popular music in the academy and in public discourse. How does our experience of popular music translate in our methodologies and teaching? How does popular music studies interact with its border disciplines in the academy? How do scholars navigate the boundary between “popular” and “classical,” and how do popular and classical music studies inform one another? As a nascent discipline, should popular music studies seek definitive methodologies or choose instead to remain at the borderlands?

Pastiche and Layered Meanings:

One hallmark of postmodern style is pastiche, and popular music—from mashup artists to singers who incorporate unexpected genre markers in their music—includes a variety of instances of stylistic agglomeration and intertextual reference, resulting in sounds that reside at the borders of music genre-fication without fitting neatly into any particular category. This sort of liminality represents a move away from clear definition toward blurrier boundaries. Practices like signifyin(g) also upset the notion of definitively grasping music by allowing many different possible interpretations at once. What do we make of music that chooses ambiguity as its own end? How do we account for multiple meanings and interpretations afforded by liminal practices of signification? How do we fit our understanding of this sort of “in-betweenness” into the postmodern critiques of pastiche and capital?

Industry at the Crossroads:

Popular music has long been tied to the demands and needs of the marketplace, with various entertainment industries influencing the ways music has been produced, distributed, mediated, and consumed. In past decades, for example, corporate conglomerates have helped define the accepted boundaries and practices of musical genres and subgenres, styles and substyles. While participants and observers have long contested these borders (and their perceived dominance), they have recently become increasingly porous and fractured as new technologies and business models emerge. How do musicians, mediators, and listeners navigate these new in-between spaces of production and consumption? In what ways might participants strategically seek liminal spaces or borderlands for their commercial musicking? How do we relate these new market realities to previous narratives that often assumed a monolithic, undifferentiated popular music mainstream?

The United States branch of the International Association for the Study of Popular Music is situated on the cutting edge of popular music studies and has remained an important part of the popular music landscape since the early 1980s. Over the years, our Annual Conference has nurtured stimulating intellectual, professional, and musical exchanges, not to mention countless scholarly collaborations and partnerships. We are excited to carry this tradition into our 2013 conference, hosted by the Butler School of Music at the University of Texas, in the beautiful and immanently musical city of Austin.

This year’s conference program committee includes Anthony Kwame Harrison (Virginia Tech), Justin D Burton (Rider), Kevin Fellezs (Columbia), Elias Krell (Northwestern), Andrew Mall (DePaul), Katherine Meizel (Bowling Green), Karl Hagstrom Miller (University of Texas), and Ali Colleen Neff (University of North Carolina).

Deadline for proposals is Thursday, November 1.

Please submit proposals to iaspmus2013 (at) Individual presenters should submit a paper title, 250-word abstract, and author information including full name, institutional affiliation, email address and a one-page c.v. Panel proposals, specifying either 90 minutes (three presenters) or 120 (four), should include both 125-word overview and 250-word individual proposals (plus author information), or 250-word overview and 50-word bios (plus email addresses and vitae) for roundtable discussions. Please send abstracts and vitae as separate MSWord attachments. All conference participants must be registered IASMP-US members. For membership information visit: For more information about the conference, go to or send email inquiries to Anthony Kwame Harrison, program committee chair, at kwame (@)

See you in Austin!


CFP – Hip Hop North of the 49th Parallel (Aug. 15)

Hip Hop North of the 49th Parallel: Hip Hop in Canada and Canadian Hip Hop

Edited by Dr. Charity Marsh and Dr. Mark V. Campbell

Can we confidently assert that there is such a thing as a hip hop nation in Canada? If so, what might this ‘nation’ look like given on-going colonial/settler relations, the nature of overlapping African diasporas, the increasing celebrations of multiculturalism, changing immigration policies, the rise of urban reserves, the on-going threat of francophone separatism, and disparate geographic realities from coast to coast to coast? Or would it be more useful to articulate hip hop in Canada and Canadian Hip Hop within the framework of Benedict Anderson’s ‘imagined communities’ or through the lens of  ‘diasporic sensibilities’ as recently suggested by Murray Forman? Is Rinaldo Walcott’s assertion of Canadian hip hop as subversive and insubordinate vis-a-vis the Canadian state a productive place to begin our critical inquiry?

The editors of Hip Hop in Canada and Canadian Hip Hop are interested in exploring hip hop cultures and communities (past and present) in their diverse and varied forms throughout Canada. Our intention is to elaborate on the ways in which geography, coloniality, race, gender, religion, ethnicity, and socio-economic structures intersect with hip hop cultures. We read hip hop widely in Canada, from recording artists to digital beatbattles to staged ‘ciphers’ to award ceremonies and graffiti festivals to community-based hip hop projects. It is critical at this juncture to make clear the lay of the Canadian land; articulating and theorizing where new hip hop knowledges, social forms, and cultural practices might make possible more equitable futures. We encourage articles that explore the following topics and more:

  • Canada’s Hip Hop Nation
  • Hip Hop and Diaspora
  • Indigenous Hip Hop Culture
  • Community development and Hip Hop
  • Francophone Hip Hop Culture
  • Hip Hop Festivals and award ceremonies
  • Canadian Hip Hop films
  • Turntablism and Controllerism in Canada
  • Maritime Hip Hop cultures
  • Prairie Hip Hop Cultures
  • Race and Hip Hop
  • West Coast Rap and Hip Hop
  • Multiculturalism and Hip Hop
  • Teaching through/with Hip Hop
  • Canadian/Regional Hip Hop histories/herstories
  • Remix cultures
  • Inuit Hip Hop cultures
  • Fatherhood/ Mothers and Hip Hop in Canada
  • Bboy-Bgirlism in Canada
  • Consumption of Hip Hop culture in Canada
  • Hip Hop and the Recording Industry in Canada
  • Hip Hop and Community radio shows
  • Performing Canadian Identities through Hip Hop

We are interested in critical interventions, histories, theoretical papers, interviews and fieldwork that interrupt, illuminate, empower, emancipate and/or deepens our knowledge of hip hop cultures in Canada.

250 word abstracts due August 15, 2012

Completed papers are due: November 15, 2012

Please email abstracts to both Charity.Marsh (at) and mcampb14 (at)


CFP – LivingStereo

(((( LivingStereo) ) ) )

History, Culture, Multichannel Sound

A Symposium organized by the Sound Studies Group, Institute for Comparative Studies in Literature, Art & Culture

Carleton University, Ottawa
March 9 – 11, 2012

Keynote speakers: Dr. Jonathan Sterne (McGill University)
Dr. Tim J. Anderson (Old Dominion University)

This conference is about the history and significance of stereo sound reproduction in aural culture. Stereo is everywhere: the whole culture and industry of music and sound became organized around the principle of stereo during the mid twentieth century. But nothing about this – not the invention or acceptance or ubiquity of stereo – was inevitable. Nor did the aesthetic conventions, technological objects, and listening practices required to make sense of stereo emerge fully formed, out of the blue.

We invite paper proposals on any aspect of the history, culture and analysis of stereo sound, from fields such as popular music studies and ethno/musicology, sound and media studies, sociology, gender, film theory, and science and technology studies. Presentations will be 20 minutes. Proposals should be no more than 300 words; include a brief bio & contact info (100 words).

Closing date for proposals: October 1st, 2011 Extended to Monday, October 24, 2011. Presenters will be notified by December 1st. Submissions by email to:

Topics may include but are not limited to:

  • Early experiments in stereo and binaural sound during the late 19th and early 20th centuries
  • The history of stereophonic listening practices
  • Multichannel stereo and wide-screen film in the 1950s
  • Audiophiles, hi-fi culture, domestic space
  • Sound, space and the body: positioning the listener
  • ‘Staging’ sound: analysis of spatial aesthetics in stereo recordings (art music and popular)
  • Stereo and studio practices
  • ‘Pan-pot stereo’ and ‘multitrack mono’ in 1960s pop
  • Multichannel sound and ‘live’ music
  • Sound systems and the dance floor: do DJs prefer mono?
  • Stereo in radio and television broadcasting
  • Immersive environments and gaming
  • MP3s, mobile playback and stereo headphone listening
  • QSound, Holophonics, and other 3D enhancements
  • Social studies of psycho/acoustics

Building on the conference, our goal is to publish a collection of essays in the history and culture of multichannel sound (edited by Paul Théberge and the Symposium organizing committee).

For further information please look for the conference link at: or contact Paul Théberge c/o livingstereo (at)