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: email@example.com
Abstracts should be no longer than 250 words and must be sent in special format (please see end of this notice)
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: firstname.lastname@example.org, email@example.com, firstname.lastname@example.org
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: email@example.com, M.Drewett@ru.ac.za, firstname.lastname@example.org
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: email@example.com, firstname.lastname@example.org, email@example.com
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: firstname.lastname@example.org, email@example.com, firstname.lastname@example.org
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: email@example.com, firstname.lastname@example.org, email@example.com
Abstracts should be no longer than 250 words and should be sent in the following format
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 firstname.lastname@example.org
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
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。
TEL 052-781-1151 (代)
開会のことば 会長 鵜殿えりか (愛知県立大学) 10:15～10:20
(1) 高橋 綾子 (長岡科学技術大) 10:20～11:05
(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
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
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
司会 長畑昭利 (名古屋大学)
去る2009年７月、イギリスのリヴァプールで開催されました、IASPM（国際ポピュラー音楽学会）の総会にて、「IASPM Book Award 2009（国際ポピュラー音楽学会2009年学術賞」の結果が、発表されました。日本語書籍部門の審査は、昨年IASPM理事会から指名された川本聡胤と、複数のIASPM-Japan会員から推薦された大和田俊之会員とによって行われ、小泉恭子会員の『音楽をまとう若者』（勁草書房）が選ばれました。著者の小泉さんご本人はご多忙のためリヴァプールには来られませんでしたが、授賞式では、本書の内容および受賞理由が、世界のポピュラー音楽研究者の勢揃いする会場で、以下のように紹介されました。
The IASPM Book Prize 2009 for Japanese Publication is given to Kyoko Koizumi’s _Youth Wearing Music_. Koizumi is Associate Professor of Sociology at Otsuma Women’s University in Tokyo. This book is a revision of her doctoral dissertation on the use of popular music in Japanese high schools, a thesis submitted to the University of London, Institute of Education in 2003.
The book elucidates flexible — and sometimes fragile — relationships between music, space, and identity. She defines three kinds of music, ‘personal music’, ‘common music’, and ‘standard music’, and three kinds of site, the ‘formal site’, the ‘semi-formal site’, and the ‘informal site’. She discovers that the youth uses these different kinds of music tactfully according to the different sites, rather than consistently use one kind of music at all occasions. She further elucidates the difference between gender in the use of music, and cautions against exploring the music culture of the youth just by social categories. The relation between music and identity is neither static nor fixed; just as people wear different clothes on different occasions, music also functions as ‘wears’ to construct their identity in a postmodern era.
Koizumi’s first-hand knowledge of Japanese music culture, combined with her thorough knowledge of European sociological theories, made her work truly outstanding among the recently published books on related subjects. The book contributes to both domestic and international scholarships in sociology of music, and we congratulate her on receiving this prize