Category Archives: CFP

Calls for paper for IASPM Conferences and others.

cfp

CFP – IASPM Canada 2013 “Music and Labour”

***NEW DEADLINE: NOVEMBER 15, 2012***

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

MUSIQUE ET TRAVAIL

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

Prénom

Initiales (s’il y a lieu)

Organisation (i.e., université)

Département/École

Pays

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) carleton.ca

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) carleton.ca), ou les responsables des arrangements locaux, Christina Baade (baadec (at) mcmaster.ca) et Susan Fast (fastfs (at) mcmaster.ca).

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.

______

MUSIC AND LABOUR

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

Initials

Organization (i.e., university)

Department/Division

Country

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) carleton.ca

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) carleton.ca), or local arrangements co-chairs, Christina Baade (baadec (at) mcmaster.ca) and Susan Fast (fastfs (at) mcmaster.ca).

Submission deadlines:

NOVEMBER 15, 2012

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

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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) gmail.com. 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: http://iaspm-us.net/membership/. For more information about the conference, go to http://iaspm-us.net/conferences/ or send email inquiries to Anthony Kwame Harrison, program committee chair, at kwame (@) vt.edu.

See you in Austin!

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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) uregina.ca and mcampb14 (at) uoguelph.ca.

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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: livingstereo@connect.carleton.ca

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: http://www2.carleton.ca/icslac/livingstereo or contact Paul Théberge c/o livingstereo (at) connect.carleton.ca

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CFP – Music and Queer Theory

Music and Queer Theory

Call for contributions – Transposition. Musique et sciences sociales nº 3

(http://transposition-revue.org/)

Queer theory is likely one of the most well-known and controversial recent schools of thought, and its impact has been felt in the academic world and beyond. It appeared in the early 1990s in the United States, as a direct offshoot of LGBT (lesbian, gay, bisexual, transgendered) collectives, the work of Foucault (in particular, his History of Sexuality and ideas such as “biopolitics”), and Derrida’s deconstructionism. This school of thought, while in no way a homogenous trend, is characterized by the questioning of the notion of gender and the idea that sexual identity and behaviour would be genetically determined. In this context, queer theory formulates the hypothesis that sexuality is actually a social construction. This presumes that sexuality is not biologically stamped on human nature, but rather takes on ever-changing social forms, wherein a given individual can live out one or many sexual identities. This hypothesis leads us to call into question social classifications from the fields of traditional psychology, philosophy, anthropology, and sociology, which tend to look at one measure at a time for classifying individuals (class, gender, etc.).

Musicology has also fallen under the influence of queer theory, what with the research groups, books, articles, and dissertations that address previously unexplored or even taboo issues, such as the construction of sexual identity through or in music. From a methodological perspective, this school of thought has been part of the recent theoretical renewal at an international level, wherein “traditional” methods of musical analysis and historical musicology are used in concert with historical, sociological, literary, aesthetic, anthropological, and socio-geographical techniques. This allows the researcher to apprehend the construction process of the musical “object” and its social dimension in all its complexity.

This issue of Transposition. Musique et sciences sociales aims to bolster this theoretical overhaul, through articles and case studies which explore ideas from queer theory in music of any genre. We also welcome more theoretical texts which examine the contributions or limitations of this school of thought in the field of musicology.

Papers (in French or in English), which conform to the requirements of the publication (http://transposition-revue.org/spip.php?rubrique4&lang=en), should be addressed to the editing committee before the 31th Mars 2012 at this address: transposition.submission@gmail.com