Japanese Association for Studying Popular Music

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

2011年中部地区特別例会

きたる4月24日(日)、中部地区特別例会を開催いたします。今回は、日本アメリカ文学会中部支部との合同開催として、日本アメリカ文学会第28回支部大会において、以下にご案内の通りシンポジウム「ポピュラー音楽を通して<読む>複数のアメリカ」をおこないます。また、当日は引き続き佐藤良明氏による特別講演「Thomas Pynchon とポピュラー音楽」がおこなわれます。ともに参加は無料、予約は不要です。ふるってご参加ください。

 

日本アメリカ文学会 第28回中部支部大会

日時:4月24日(日)10:15~ (合同開催シンポジウムは13:55~)

会場:愛知淑徳大学星ヶ丘キャンパス5号館5階55A教室
464-8671 愛知県名古屋市千種区星が丘23
TEL 052-781-1151 (代)
地下鉄東山線星ヶ丘駅下車 3番出口から徒歩約3分
交通アクセス・マップ:
http://www.aasa.ac.jp/guidance/map.html

参加無料、予約不要 (午前中に行われる、日本アメリカ文学会中部地区大会の個人研究発表にも無料で参加できます。受付にて「日本ポピュラー音楽学会から来た」旨お伝えください)

 

【プログラム】

開会のことば 会長 鵜殿えりか (愛知県立大学) 10:15~10:20

研究発表
(1) 高橋 綾子 (長岡科学技術大) 10:20~11:05
「ジョアン・カイガーの『タペストリーと織物』」
(2) 駒田 法子 (日本福祉大学 非常勤) 11:10~11:55
「Maxine Hong Kingston のThe Woman Warrior: Memoirs of a Girlhood Among Ghosts
における視点と「黒いカーテン」のイメージ―戦争、狂気から帰郷の物語へ 」

 

シンポジウム (JASPM中部地区特別例会との合同開催) 13:55~15:55
「ポピュラー音楽を通して<読む>複数のアメリカ」
司会・講師 久野陽一 (愛知教育大学)
講師    長澤唯史 (椙山女学園大学)
講師    エドガー・ポープ (愛知県立大学)
講師    南田勝也 (武蔵大学)

 

特別講演「Thomas Pynchon とポピュラー音楽」16:15~17:15
講師 佐藤良明
司会 長畑昭利 (名古屋大学)

プログラムの詳細と概要については、以下のURLのリンクをご覧ください。
http://www.lang.nagoya-u.ac.jp/~nagahata/amlitchubu/taikai11.html