Japanese Association for Studying Popular Music

国際ポピュラー音楽学会日本支部(IASPM-Japan)入会案内

国際ポピュラー音楽学会日本支部(IASPM-Japan)入会案内

 

国際ポピュラー音楽学会日本支部に入会すると、国際ポピュラー音楽学会が開催する国際学会での発表をはじめとして、各種の活動に参加することができます。
入会希望の方は、以下のお手続きをお願いいたします。

 

1) 日本ポピュラー音楽学会入会申込書の所定欄に国際学会入会希望の旨をお書きいただくか、もしくは、Eメールを川本聡胤宛(ak1★d3.dion.ne.jp 星をアットマークに変換)にお送りください。Eメールでは、タイトルを「国際ポピュラー音楽学会入会希望」とした上で、本文で以下の項目につきお知らせください。
(ア) 名前
(イ) 所属
(ウ) 住所
(エ) 電話番号
(オ) メールアドレス
(カ) 日本ポピュラー音楽学会(JASPM)の会員・非会員の別
※ 日本ポピュラー音楽学会への入会は、国際ポピュラー音楽学会への入会条件ではありません。

 

2) 以下のゆうちょ銀行口座宛に、年会費をお振込ください。金額は、一般¥3,000、学生¥1,500、団体¥5,000、賛助一口¥20,000となります。日本ポピュラー音楽学会の口座とは異なりますのでご注意ください。
振込先:ゆうちょ銀行(金融機関コード 9900)
【店名】四〇八(読み ヨンゼロハチ)
【店番】408
【預金種目】普通
【口座番号】6352558
【名義】国際ポピュラー音楽学会日本支部

 

以上

IASPM (国際ポピュラー音楽学会)2019国際大会発表応募の締め切り延期

Turns and Revolutions in Popular Music Studies
 
XX Biennial IASPM Conference
School of Music, The Australian National University
Canberra, Australia, 24–28 June 2019
 
Call for Presentations
 
As certain songsters and songstresses have noted, seasons turn, turn, turn, even if you are talking about a revolution. While global warming alters seasonal cycles with the aid of neoliberal and (pseudo)socialist forms of capitalism, and waves of societal turmoil follow each other with varying degrees of authoritarianism in different parts of the world, popular music studies remains committed to critical enquiry of music of the masses, the everyday, a variety of subcultures, the megastars, all with their revolutionary potential. Faced with the increasing worldwide austerity in the humanities and social sciences, caused by short-sighted research funding policies that purportedly aim at revolutionary technological and business innovations, popular music studies also struggles with its future directions. Whither popular music studies and where to turn?
 
Popular music studies in its institutional form is approaching the end of its youthful years, and IASPM will celebrate its twentieth biennial conference in Canberra. This provides also an opportunity to turn to the past and reconsider what may be learned from the twists and shouts of the previous decades. How have recent affective, neomaterialist, performative, post-humanist, spatial, transnational and visual turns, among others, affected popular music studies, and what might the emergent or future disciplinary turns be? Or to what extent do the turns and revolutions within popular music studies signal an excessive neoliberal belief in constant innovation that implies a lack of thorough investigation of the field’s intellectual history? How are the politics of higher education changing the field’s history of critical research and challenging its civic agenda?
 
To address these issues, as well as any other questions and topics related to the past, present and future turns and revolutions of popular music studies, the International Association for the Study of Popular Music invites proposals for the twentieth biennial conference, to be held at the School of Music at the Australian National University in Canberra 24–28 June 2019. The general theme of the conference is divided into six interrelated streams:
 
a) Temporal turns and revolutions. In recent years there has been a pronounced interest in popular music as cultural heritage. Alongside issues of heritagisation, this stream accommodates topics relating to nostalgia, history, historiography and futurology alike, and any other aspect involving temporal relations within popular music studies.
 
b) Spatial turns and revolutions. As popular music studies is a global field of enquiry, debates emerge concerning the key geographical loci of its knowledge production. This stream welcomes discussion on the centrality of Western conceptualisations of popular music and their challenges, including the variety of centre–periphery relations, “locals” versus “newcomers”, migration and displacement. Furthermore, how are issues of space and place dealt with in the field, including such liminal circumstances as festivals?
 
c) Technological turns and revolutions. Media studies approaches constitute a dominant strand of popular music studies, and in addition to issues of media, mediation, mediatisation, et cetera, this stream invites topics that address all dimensions of popular music and technology, whether conceived as practical technical solutions or more abstract logic behind the use of various tools and techniques. A particularly relevant theme in this stream is the presence of technological elements in all stages of the music industry, from production to consumption, and how they blur the lines between live, recorded and streamed music experiences. Additionally, how is technology inspiring aesthetic choices, also in terms of post-digital backlash?
 
d) Political turns and revolutions. Popular music studies, however defined, is intimately associated with questions of power relations and hence with politics. In an age of global migration, extremist populism, global warming and #metoo, the politics of popular music are implicated in issues of racism, ecological activism and gender and sexual discrimination in particular. Presentations focussing on identity, intersectionality, and more generally, inclusivity are especially welcome, as well as those that address the socio-historical shifts in protest music, however conceived.
 
e) Theoretical turns and revolutions. How has the inherent interdisciplinary nature of the field evolved during the last decades? How have “popular” and “music” been – and continue to be – understood in the field, and how is their “study” or “analysis” conceived? Furthermore, how are the theoretical and methodological choices that popular music scholars make today likely to affect the field’s “health and wellbeing” in the future? Of particular relevance here are topics that deal with conceptual curves and conflicts within popular music studies, whether stemming from feminism, Marxism, postcolonialism, semiotics, music analysis, or any strand of music theory in its broadest sense.
 
f) Affective turns and revolutions. Issues of feeling, emotion and pleasure have been central in the study of popular music, in part because of the importance granted to forms of stardom and fandom. Alongside such questions, this stream tackles additional aspects of affective attunements and alliances within popular music and its scholarly investigation.
 
Academic Committee
 
Pablo Alabarces, Emilia Barna, Sam de Boise, Giacomo Bottà, Diego García Peinazo, Elsa Grassy, Florian Heesch, Sarah Hill, Fabian Holt, Nadine Hubbs, Laura Jordán González, Akitsugu Kawamoto, Pil Ho Kim, Serge Lacasse, Kristin McGee, Isabella Pek, Rosa Reitsamer (co-chair), Geoff Stahl (co-chair).
 
Local Organising Committee
 
Samantha Bennett (chair), Catherine Hoad, Di Hughes, Stephen Loy, Bonnie McConnell, Pat O’Grady, Georgia Pike, Julie Rickwood, Geoff Stahl, Catherine Strong, Aleisha Ward, Samuel Whiting, Kirsten Zemke.
 
Abstracts
 
There will be four options: panels (of 3 or 4 presenters), individual papers, film/video presentations, or poster sessions. Panels and individual papers may also be delivered as practice-based presentations, featuring performance-based, composition-based, recording-based or multimedia-based research. In case of practice-based presentations, please make sure to include a description of room and/or technical requirements. In addition, online presentations may be considered for inclusion in the programme, yet priority is given to on-site participation.
 
Panels
 
Proposals of organized panels are strongly recommended (two-hour long sessions with four papers, or three papers and a discussant). Each session should leave at least 30 minutes for discussion or for comments by a discussant immediately following the presentations. The panel organizer should submit the panel abstract and all individual abstracts (200 words each) in one document, with a full list of participant names and email addresses. Where an independently submitted abstract appears to fit a panel, the Academic Committee may suggest the addition of a panellist.
 
Papers
 
We invite abstracts of no longer than 200 words, including five keywords for programming purposes and an optional list of references (max 10). Individual paper presentations are 20 minutes long to be followed by 10 minutes of discussion.
 
Film/video session
 
Recently completed films introduced by their author and discussed by conference participants may be proposed. Submit a 200-word abstract including titles, subjects, and formats, and indicate the duration of the proposed films/videos and introduction/discussion.
 
Poster session
 
A space where presenters can exhibit posters will be provided. A 200-word abstract by the poster’s author, including five keywords for programming purposes, must be submitted.
 
Submission
 
Please email your abstract no later than 15th August. , as a doc/odt/rtf attachment to <iaspm2019@anu.edu.au>. Please name the file with your surname (eg. Ciccone.docx). The following format should be used:
 
• Name, affiliation and contact email address
• Type of presentation (select one from: panel, individual paper, film/video, poster)
• Stream (select preferably one but not more than two from: Temporal/Spatial/ Technological/Political/ Theoretical/Affective Turns and Revolutions)
• Title of presentation
• Abstract (200 words maximum; in the case of panels, include a general abstract followed by individual abstracts, in total 1000 words maximum)
• Five keywords
• Bio (80 words maximum; in case of panels, bios of all participants)
 
Abstracts will be accepted in English, IASPM’s official language. Papers in all other languages are allowed, if accompanied by a visual presentation in English. Letters of acceptance will be sent by 15th October 2018.
 
Each participant must be a member of IASPM: www.iaspm.net/how-to-join. Each participant may present only one paper at the Conference, but may also preside over a panel or serve as a discussant.
 
The conference organisers look forward to receiving your submissions!
 
With kindest regards
 
IASPM Executive Committee:
Julio Mendivil, Chair
Jacopo Conti
Marta García Quiñones
Antti-Ville Kärjä
Kimi Kärki
Sílvia Martínez
Ann Werner

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