[csaa-forum] Reminder: CFP: Popular Music Worlds, Popular Music Histories (Closing Date: July 1, 2008)

[Geoff Stahl]

Hi all,

A reminder of the abstract closing date for the next IASPM  
International Conference.  Please feel free to forward to lists and  
individuals you think would like to participate.

Best,
Geoff

Popular Music Worlds, Popular Music Histories
University of Liverpool, UK
July 13-17, 2009


For its 15th biennial conference, the International Association for  
the Study of Popular Music (IASPM) invites papers which explore the  
various connections and disconnections between popular musical worlds  
and popular music histories. Given Liverpool’s important place in  
relation to both areas, it will provide an ideal setting for papers  
submitted to the following streams:

Studying Popular Music: A Reassessment
Convenor: Martha Tupinambá de Ulhôa <mulhoa1 at gmail.com>

Since the first attempts in the late 1970s and 1980s much has been  
done in terms of adapting analytical tools from several disciplines to  
the study of popular music. This stream welcomes papers dealing with  
the analysis of specific aspects of popular music (timbre, texture,  
prosody, melody, rhythm, harmony, arranging, etc.) or case studies of  
particular songs or instrumental pieces from any theoretical  
perspective.

Popular Music and Technology in a Historical Context
Convenor: Carlo Nardi <josephbearboy at yahoo.com>

Different intellectual technologies have contributed to the way people  
produce and listen to popular music, be it orality, printing,  
recording or even the Internet. This stream welcomes papers dealing  
with the technological impacts upon popular music practices, including  
questions from cultural, aesthetic, ideological, economic,  
sociological, historical, legal or musicological perspectives.

Music, History and Cultural Memory
Convenor: Shane Homan <Shane.Homan at arts.monash.edu.au>

This stream seeks contributions that investigate popular music  
histories and the methodological challenges in their researching and  
writing. What particular historical narratives and agendas emerge, and  
what are their effects? The stream includes work that examines the  
role of popular music history in wider national histories and their  
presence in both informal (e.g. fan club newsletters) and formal (e.g.  
museums) contexts. Papers are also welcome that explore the role of  
‘unofficial’ / ‘shadow’ music histories that challenge or offer  
alternatives to grander narratives and industry mythologies, to  
comprehend a politics of cultural memory studies in terms of what is  
officially preserved from oblivion and what is socially excluded from  
remembrance.

Music, Mediation and Place
Convenor: Geoff Stahl <geoff.stahl at vuw.ac.nz>

The intersection of place-making and music-making as a site of  
mediation is a complicated one. From the use of certain music scenes  
or moments which have been mobilized as heritage myths and tourist  
packages, to issues related to the use of micro and mass media to bind  
musicmakers together--locally, regionally, nationally, and globally-- 
the intersection of time and place as a highly mediated process has  
proven a vexed and complex phenomenon. We welcome papers which explore  
the many issues relating to music histories, representations,  
discourses, spaces and places, as well as those that consider the  
various research methods which might be best be deployed to capture  
this phenomenon.

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

Being a musician inevitably involves struggle: Musicians starting out  
struggle to make it, musicians 'in the margins' struggle towards  
mainstream coverage, some musicians involve themselves in political  
struggle to do with identity issues and/or social issues, while in  
contexts of censorship, repression and control some musicians struggle  
to be heard. Even commercially successful musicians can become  
embroiled in corporate struggle over contractual obligations. This  
stream seeks contributions which document and conceptualise such  
struggles within a socio-political framework.

Abstracts should be no longer than 250 words (one page) and should be  
sent in the following format:

Title
Presenter(s)
Institution
Email
Abstract
Keywords (five keywords that best describe your topic)

Abstracts should be sent to BOTH the conference address and the  
convenor of your stream. The conference address is:

iaspm2009 at iaspm.net

Please label your abstract with your last name (i.e. smith.rtf, or  
smith.doc), not the title.

The deadline for abstracts is July 1, 2008.

We will notify participants no later than November 1st, 2008,  
regarding their acceptance.

We look forward to seeing you.

The IASPM-International Executive
-----------------------------------------------------------------------------------------
Geoff Stahl
Lecturer, Media Studies
42-44 Kelburn Parade
Victoria University of Wellington, P.O. Box 600
Wellington, Aotearoa-New Zealand
Phone: +64 4 463 5233 (ext. 7472)

Chair, International Association for the Study of Popular Music
(IASPM)
http://www.iaspm.net
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