[csaa-forum] CFP - IASPM's 14th Biennial Conference: ¡Que viva la musica popular!, Mexico City 2007

Geoff Stahl geoff.stahl at vuw.ac.nz
Thu Jun 29 15:39:47 CST 2006

The International Association for the Study of Popular Music (IASPM)  
is pleased to announce its 14th biennial conference:

¡Que viva la musica popular!

Universidad Iberoamericana
Mexico City, Mexico
June 25-29, 2007

Popular music remains at the heart of everyday life in many different  
ways. Its ability to organise, reassure, provoke, contain or  
anaesthetise attests to its influence within social life. The  
organisers of the 14th biennial IASPM in Mexico City invite papers  
that provide theoretically grounded accounts of popular music’s role  
as a soundtrack to individual, collective, local, national and  
international experience. This includes examination of the  
significant changes in popular music consumption, with, for example,  
the emergence of the mobile phone and TV talent show franchises as  
key links between contemporary youth audiences and performers.  
Equally, in the age of the ‘mash-up’, innovation in digital  
technologies (for example, Pro Tools and Acid Pro software) continues  
to challenge prior modes of production and viability for producers in  
an era of industry/company integration. While these are important  
issues for debate, this conference also emphasises effect and  
affectivity: the astonishing ways in which popular music moves us to  
different forms of expression and feeling.

The location of this conference is timely, given the rapid change in  
cultural trade flows and agreements between nations, where popular  
music plays a major role in debates about cultural sovereignty, and  
the feverish rhetoric surrounding the ‘cultural’/’creative’  
industries. At the same time, popular music continues to be  
appropriated for specific political ends, representing particular  
ideologies, and in some cases, whole nations.

As has always been the case, conference organisers welcome papers  
that shed light on specific, local experiences and debates, along  
with wider issues of transnational importance. In keeping with the  
increasingly broad scope of popular music studies, the conference  
welcomes papers based on any disciplinary approach, including  
musicology, semiotics, philosophical/cognitive studies, anthropology,  
gender and cultural studies, sociology, literary criticism, etc.

Abstracts should be no longer than 250 words, and should include the  

Paper Title
Surname, First Name
Email Address
Intended Stream

When attaching abstracts, please send as both an .rtf and .doc.  
Please use your surname as the file name, eg: smith.rtf, jones.doc.

The conference organizers would ask that you provide three to five  
keywords in order to help facilitate the organization of the schedule.

Abstracts should be sent to the following address: pop2007 at iaspm.net,  
and should be received no later than November 15, 2006.  Presenters  
will be notified by February 1, regarding acceptance.

The streams for this year’s conference as follows:

1. Songs of desire

Convenor: Franco Fabbri <fabbri at dico.unimi.it>

Feelings, emotions, passion are at the same time the subject of many  
popular songs (content), the factors that influence how subjects are  
articulated (expression), the shared competence within a genre or  
across genres (code). Affect in popular music is coded/decoded by the  
mind, interpreted by the body, predominantly mediated by the voice.  
This stream welcomes papers based on any disciplinary approach  
(musicology, semiotics, philosophical/cognitive studies,  
anthropology, gender and cultural studies, sociology, literary  
criticism, etc.) approaching song (individual songs, genres,  
idiolects) as the meeting  point of thought and feelings, the body,  
the human voice, for any  purpose and project.

2. Performance

Convenor: Shane Homan <Shane.Homan at newcastle.edu.au>

Musical performance remains one of the central rituals and pleasures  
of popular music. This stream invites consideration of understandings  
of performance within a range of cultures and contexts, including the  
re-evaluation of ‘classic’ performances on the stage or screen that  
continue to inform contemporary practices and histories; debates  
about repetition and improvisation; or performance within multimedia  
environments, and the implications for the presentation and reception  
of the musical text in relation to particular discourses of  
authenticity. We welcome papers on the cover, tribute, or  
interpretation that investigates performing the ‘original’, or  
contributions to debates about stage virtuosity, including  
understandings of musical skills, training and creativity.  
Discussions can extend to how famous musicians ‘perform’ their  
celebrity roles in a variety of industry and media contexts; or how  
audiences ‘perform’ subcultures or fandom roles; or take on the role  
of ‘performer’ themselves.

3. Technology & industry

Convenor: Martha Tupinambá de Ulhôa <mulhoa1 at gmail.com>

The use of the phonogram, the disc, the tape, and now the computer  
archive has changed enormously the way people produce and listen to  
music.  Music technology has even blurred the distinction between the  
spheres of music production and consumption, as well as the notions  
of authorship and performance.  Also the music industry has had to  
adapt to new ways of consumption that bypass its control, as the  
debate on copyright and the release of "historical" performances  
transfers is showing.  This stream welcomes papers dealing with the  
technological impact on popular music practices, including studio,  
live and even private popular music production and consumption  
questions from cultural, aesthetic, ideological, economic,  
sociological, historical, legal or musicological perspectives.

4. Nation, Region, City

Convenor: Michael Drewett <M.Drewett at ru.ac.za>

This stream is concerned with popular music meanings which are  
specifically located within the context of space and place, whether  
on the local, national, global or glocal level, including the role of  
music in urban and suburban structures, in the construction of  
national identities and policies and in place-related practices of  
domination and resistance, such as post-colonial struggle. Papers  
that place particular emphasis upon the spatial dynamics of popular  
music are welcomed.

5. Popular and Unpopular Musics

Convenor: Geoff Stahl <geoff.stahl at vuw.ac.nz>

The notion of ‘the popular’ can be cast in multiple ways. The meaning  
and uses to which ‘the popular’ is put means different things with  
regard to taste, musicians, the industry, governments, etc. The  
notion of what constitutes popularity and what that popularity may  
mean is fraught and contested in a number of fields, whereby the  
production, distribution and consumption of music can become the  
locus of many different kinds of struggles.  This stream is designed  
to take up many of these issues, considering the different resonances  
of ‘the popular’ (and by inference its so-called opposite, ‘the  

Dr. Geoff Stahl
Lecturer, Media Studies
School of English, Film, Theatre and Media Studies
Victoria University of Wellington
P.O. Box 600
Aotearoa New Zealand
+64 4 463 5233 (ext. 7472)
The Blog: http://www.biglittleg.com/blog
The Pics: http://www.flickr.com/photos/guymauve/
AIM: guymauve68

I'm a city boy.  In the big cities they've set it up so you can go to a
park and be in a miniature countryside, but in the countryside
they don't have any patches of big city, so I get very homesick.
		--Andy Warhol, The Philosophy of Andy Warhol

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