Japanese Association for Studying Popular Music

IASPM 2011 16th Biennial International Conference 開催のお知らせ

2年に一度開催されるIASPM国際大会は、今年の6月26日より7月1日にかけて、南アフリカのグラハムスタウンにあるローズ大学(Rhodes University)にて開催される予定です。プログラム(スケジュールと発表者および発表題目など)は以下のリンクよりダウンロードできます。

http://www.iaspm.net/doc/iaspm11_programmedraft_04-28.pdf

日本からはかなり遠い地での開催ですので、参加が難しい方も多いと思いますが、可能な方はぜひ奮ってご参加ください!

第17回国際ポピュラー音楽学会委大会発表の募集

Call for Papers
IASPM 2011 17th Biennial International Conference ‘Situating Popular Musics’
Grahamstown South Africa, Monday 27 June until Friday 1 July, 2011
For its 17th biennial conference, the International Association for the Study of Popular Music (IASPM) invites papers which explore the many ways of situating popular music in the light of IASPM celebrating its 30th year.
The opening plenary will be given by Philip Tagg, IASPM founder.
The week of the conference leads up to the Grahamstown National Arts Festival which is the biggest arts festival in Africa and the southern hemisphere. This will be a stimulating context for members of IASPM to explore arguments about different popular music practices, spaces and places.
The deadline for abstracts is 1st July 2010 conference email: iaspm11@gmail.com
Abstracts should be no longer than 250 words and must be sent in special format (please see end of this notice)

STREAMS
1. IASPM 30 Years On
When IASPM began back circa 1981, it pulled together a passionate, fragmented group of people working at the fringe or outside the academy in many different parts of the world, their work often looked down on by mainstream musicologists and many music departments. Thirty years later Popular Music is very much part of the academy (music, musicology, cultural studies, sociology, history, media, women’s studies departments etc), with an increasing number of large, research projects, publications, journals and students. It’s inter-disciplinarity has seen it draw on many theoretical positions and have impact in many areas. What kind of benefits have come with the institutionalisation of Popular Music? What has been achieved and where are we heading? Have gender and disciplinary boundaries been breached positively or only notionally? Has there been mutual influence between disciplines? Why have popular music studies achieved a higher profile and gained more ground in some countries rather than others? Does Anglo-US work still dominate eclipsing revealing work from other cultural sources and if so why? How does IASPM interface with professionals working outside the academy? Have popular music studies had any impact on popular culture and on society as a whole?
Convenors: Jan Fairley, Helmi Järviluoma
emails: iaspm11@gmail.com, jan.fairley@blueyonder.co.uk, hjarvil@joyx.joensuu.fi
2. Multisited Popular Music
How have the development of theories and methodologies for multisited and transcultural approaches to popular music impacted on research? This is IASPM’s 2nd conference in Africa, the first being Ghana 1987 (Africa in the World of Popular Music) an event which produced lively debates which some feel got lost in subsequent years. With the conference in South Africa comes an opportunity to map post colonial music scenes in the world on all continents. It offers an opportunity to explore what is meant by African music; to critique historical binaries; to consider the intricacies of ‘diaspora’; to discuss the impact of Africa in the world, and the way different African musics which are seen to underpin so many musics in the world, regionally and generically, have interacted with and absorbed ‘other’ musics.
Convenors: Michael Drewett, Violeta Mayer
email: iaspm11@gmail.com, M.Drewett@ru.ac.za, violeuk@gmail.com

3. Popular Music and the Culturalization of the Economy
In many parts of the world music is now an integral part of the ‘culturalization of the economy’ with an increasing emphasis placed on culture as part of local/ national/ international governing bodies, as part of city regional and national economic re-generation, an integral part of city festivals, music festivals and modern tourism. The opposite may be true in countries which have strong, even burgeoning manufacturing economies. What are the implications of these shifts for popular music and for popular music studies?
Convenors: Héctor Fouce, Helmi Järviluoma
email: iaspm11@gmail.com, hector@fouce.net, hjarvil@joyx.joensuu.fi

4. Popular Music Challenges
How can a musician earn a living in the age of digital music? How and why has the live scene reconfigured from stadium rock to living room concerts? In what ways do pirate sites, legal downloads and streaming system coexist? Who owns what in terms of authorship and technology? What kind of struggles are going on? How has swiftly changing technology and media affected creativity and performance practices in music and dance?
Convenors: Carlo Nardi, Héctor Fouce
email: iaspm11@gmail.com, josephbearboy@yahoo.com, hector@fouce.net

5. The Power and Politics of Sound and Body
Has it ever been valid to talk about ‘music’ per se and is it valid anymore? How is musical creativity and composition responding to the increasing demands and complexity of the technological world and its so-called democratization’? What kind of musical analysis lends itself to examining popular music texts created for different musical contexts today? How ethnocentric and class-centric are musical metadiscourses? How is music and dance being approached? Are old arguments concerning emotion and meaning valid anymore? What methods are being used to explore the relationship between music and religion; the ‘spiritual’; well-being; health; political beliefs, and many kinds of human struggle?
Convenors, Jan Fairley, Violeta Mayer
email: iaspm11@gmail.com, jan.fairley@blueyonder.co.uk, violeuk@gmail.com

Abstracts should be no longer than 250 words and should be sent in the following format
Title
Name
Mailing address
Telephone number
Email address
Abstract
Keywords (five keywords that best describe your topic)
PLEASE follow the following abstract email etiquette:
(i) send a copy of your abstract to both the conference address and the convenors of your chosen streamas a word document
(ii) label your abstract file with your last name and stream (i.e. smith popular music challenges.rtf, or smith popular music challenges. doc), not the title of your proposal
(iii) write your surname and stream as the email subject line of your email. i.e. Smith Popular Music Challenges
The conference address is iaspm11@gmail.com
DEADLINE FOR ABSTRACTS is 1st July 2010
We will notify participants in November 2010 and the programme will published on line as soon as possible in 2011.
We look forward to seeing you at this very special conference in South Africa in the 30th year of IASPM!
The IASPM-International Executive

『IASPM@Journal』への投稿を募集します(終了)

IASPM@Journalは、IASPM(国際ポピュラー音楽学会)の機関誌です。IASPMは、ポピュラー音楽の調査、研究、分析を促進するために設立されました (http://www.iaspm.net/) 。その機関誌である本誌は、国際ネットワークとして、 IASPM会員の研究成果を世界に、そして各地域に、普及させることを目指します。従って、本誌は英語が一応の公用語ではありますが、学会員は各支部の言語、すなわちイタリア語、オランダ語、スウェーデン語、スペイン語、デンマーク語、ドイツ語、トルコ語、日本語、ノルウェー語、フィンランド語、フランス語、ポルトガル語による原稿を提出することもできます(本誌が使用するオープン・ジャーナル・システムズ(下記参照)自体は英語のシステムですが、他言語も対応可能です)。また本誌は単一言語による論文を掲載する場合もありますが、二カ国語版を積極的に掲載していきます(なお二カ国語版は、査読が終わって採用が決定した段階で作成が求められます)。

 原稿の長さは、論文の場合約10,000-20,000字(英語で5,000-8,000語)、書評の場合約4,000字(英語で1500語)です。内容はポピュラー音楽に関するものであれば、どの分野、時代、地域について扱ったものでも構いません。また歴史、批評、理論、描写などのいかなる方法論やアプローチを用いても結構ですが、本誌は様々な分野の読者を対象としているので、そのことを念頭において書いてください。例えば、社会学的な論文でしたら、音楽学者や文学評論家やポピュラー音楽批評家などにも理解できるような書き方を採用してください。その逆もまたしかりです。

 なお、書式の原則については別掲文書をご参照ください。 IASPM@Journalに投稿するには、IASPMに未入会の人は入会 した上で、専用サイトにてReaderおよびAuthorとして登録してください。本誌は登録さえすれば誰でも閲覧可能です。ログインしたら、まずは自身のプロファイルを作成し、Affiliation欄には所属機関名を、Bio Statement欄には専門分野名を、それぞれご記入ください。書評に関心があおりの方は、どの分野の書評ができるかについてもご記入ください。 ログイン後、Authorとしての登録が済みましたら、User Home欄のAuthorをクリックして原稿を提出してください。サウンド・ファイル(mp3)や、高解像度画像(グレー・スケールで最低でも300dpi)は追加ファイル(supplementary files)として提出できます。 本誌第一号の投稿締め切りは2009年5月1日です。 オープン・ジャーナル・システムズは、パブリック・ノリッジ・プロジェクトによるフリー・ソフトウェアです。詳しくはこちらをご覧下さい。

日本語によるお問い合わせは下記までお願いします。

川本聡胤 ak1@d3.dion.ne.jp
International Editorial Advisory Board IASPM@Journal