Author Archives: IASPM webmaster

cfp: Subcultures Network International Conference

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Subcultures Network International Conference

Date: 13 April – 14 April 2023
Venue:Frenchay Campus, UWE, Bristol
Venue Location:https://www.uwe.ac.uk/life/campus-and-facilities/frenchay-campus/frenchay-campus-map

The Subcultures Network wishes to celebrate the diversity of disciplines, scholars, researchers and writers who have been involved in the Network over the past twelve years.

But we also aim to encourage those who haven’t been to one of our events before to submit abstracts and come and share their ideas, research and knowledge with us.

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cfp: Conference on Politics in Music and Song at Queen’s University Belfast

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Call for Papers: Conference on Politics in Music and Song (Queen’s University Belfast, 8-10 September 2023) 

Music at Queen’s University Belfast in collaboration with the network ‘Songs of Social Protest’ is hosting a conference from 8-10 September 2023 that will explore the great variety of musical and lyrical expression within the field of protest song.  

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[IASPM XXI 2022] Notice of extension of standard registration period

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Dear participants of the IASPM XXI 2022: 

This email is sent to all participants to inform that the deadline of the standard registration is extended to May 20, 2022. 

STANDARD REGISTRATION IS NOW AVAILABLE! (Extended to May 20, 2022) 

Receiving many requests regarding the registration extension, the deadline of standard registration of IASPM XXI 2022 has been extended to May 20, 2022. We are expecting that our decision about extension will be of great help to many people’s participation. Please visit the registration page to finish registration: 

Also, please note that all presenters (both individual, panel and film/video) must finish their registration to present in IASPM XXI 2022. 

If you have any queries, please contact IASPM XXI 2022 Secretariat at iaspm2021@gmail.com. 

We look forward to meeting you up (virtually) at the conference very soon. 

Kind regards, 

Keewoong Lee 

Hyunjoon Shin 

IASPM XXI 2022 Local Organising Committee 

“Flip it and Reverse it: Hip-Hop Worldwide” (a section of the Ethnomusicology Review)

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“Flip it and Reverse it: Hip-Hop Worldwide” is a space for hip-hop-focused research and content. It is a section of the UCLA journal Ethnomusicology Review.

The section is open to scholars, students, journalists, activists, artists, archivists, and community organizers. We’d like to particularly encourage submissions from BIPOC individuals, LGBTQIA+ individuals, disabled individuals, and non-academically affiliated individuals.

Contributions should ideally be between 1500 and 3500 words, and take advantage of the online-digital format of the publication by making use of media content (pictures, videos, audio, etc.).

If you wish to contribute or have any questions please reach out to:

H. Samy Alim (halim@ucla.edu)

Samuel Lamontagne (slamonta@ucla.edu)

Tabia Shawel (tshawel@bunche.ucla.edu)

More info here

https://ethnomusicologyreview.ucla.edu/content/call-contributions-flip-it-and-reverse-it-hip-hop-worldwide

Ethnomusicology Review

ethnomusicologyreview.org

Savoirs en Prisme, no 15, 2022, “The Figure of the Musician in the Cinema”

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Call for Articles 

Savoirs en Prisme, no 15, 2022, “The Figure of the Musician in the Cinema” 

Edited by: Bénédicte Brémard, Stéphan Etcharry and Julie Michot 

Although pianists (and even organists) left the movie theaters during the silent era, musicians have become a recurrent topic of cinema. One famous example is the first “sound” feature film, The Jazz Singer (Alan Crosland, 1927), whose hero is also an instrumentalist. Background and source music have already been the subject of numerous in-depth studies. This is why Issue 15 of Savoirs en Prisme will focus more specifically on the musician, a figure that can be found in all national cinemas.

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cfp: Sonic Engagement: The ethics and aesthetics of community engaged audio practice

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Please see below for editorial contacts and instructions for initial submissions.

Edited by Sarah Woodland (Faculty of Fine Arts and Music, University of Melbourne, Australia) and Wolfgang Vachon (School of Social and Community Services, Humber Institute of Technology and Advanced Learning, Canada) 

Due for publication in early 2022 

About the book 

This edited collection aims to investigate the use of sound and audio production in community engaged participatory arts practice and research. The popularity of podcast and audio drama, combined with the accessibility and portability of affordable field recording and home studio equipment, makes audio a compelling mode of participatory creative practice. Working in audio enables a flexible approach to participation, where collaborators in sites such as prisons, schools, and community settings, can engage in performance and production in flexible ways, while learning valuable skills and producing satisfying creative outcomes. Audio works also allow projects to reach wider audience (and for longer) than an ephemeral performance event, extending the potential for diverse perspectives to be heard beyond prison walls, across borders, and between different communities and cultures.

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