Dear IASPM members,

We are pleased to announce the publication of the special issue of Transposition “Sound, Music and Violence” https://doi.org/10.4000/transposition.3213

Volume 22 of Ethnomusicology Review: https://ethnomusicologyreview.ucla.edu/journal/volume/22-0

Introduction

by the editors Samuel Lamontagne and Tyler Yamin

Invited Article:

-The Anthropocene and Music Studies

  by Jim Sykes

Peer-reviewed Articles:

-The (Musical) Performance at Stake: An Ethnomusicological Review

  by Anthony Gregoire

-The Role of Tone-colour in Japanese Shakuhachi Music

  by Nick Bellando and Bruno Deschenes

-The Forging of Musical Festivity in Baloch Muscat: From Arabian Sea Empire      to Gulf Transurbanism to the Pan-Tropical Imaginary

  by George Murer

We’d also like to remind you that the deadline for our Volume 23 is March 23.

For more information: https://ethnomusicologyreview.ucla.edu/content/call-papers-ethnomusicology-review-volume-23

Carol Vernallis, Holly Rogers and Lisa Perrott are happy to announce the second book in their Bloomsbury book series, New Approaches to Music, Sound and Media (https://www.bloomsbury.com/uk/series/new-approaches-to-sound-music-and-media/)

Transmedia Directors: Artistry, Industry and New Audiovisual Aesthetics, edited by Carol, Holly and Lisa, focuses on artist-practitioners who work across media, platforms and disciplines, including film, television, music video, commercials and the internet. Working in the age of media convergence, today’s em/impresarios project a distinctive style that points toward a new contemporary aesthetics. The media they engage with enrich their practices – through film and television (with its potential for world-building and sense of the past and future), music video (with its audiovisual aesthetics and rhythm), commercials (with their ability to project a message quickly) and the internet (with its refreshed concepts of audience and participation), to larger forms like restaurants and amusement parks (with their materiality alongside today’s digital aesthetics). These directors encourage us to reassess concepts of authorship, assemblage, transmedia, audiovisual aesthetics and world-building.

Providing a vital resource for scholars and practitioners, this collection weaves together insights about artist-practitioners’ collaborative processes as well as strategies for composition, representation, subversion and resistance. Directors and practitioners discussed include David Lynch, Barry Jenkins, Wes Anderson, Sofia Coppola, Michael Bay, David Fincher, Bong Joon-ho and Lars von Trier; musicians and music-video/film directors David Bowie, Floria Sigismondi, Jess Cope, Dave Meyers, Emil Nava and Sigur Rós; and Instagram and new media personality Jay Versace.

Other titles in the series:

Áine Mangaoang, Dangerous Mediations: Pop Music in a Philippine Prison Video

Forthcoming titles include:

Nicola Dibben, Biophilia

Cat Hope and Ryan Ross Smith, Animated Music Notation

Alex Jeffrey, Popular Music and Narrativity

Lutz Koepnick, Resonant Matter

Lisa Perrott, David Bowie in Music Video

Nick Prior, Assembling Virtual Idols

Carol Vernallis, Selmin Kara and Holly Rogers, CyberMedia

Nabeel Zuberi, Popular Music, Race and Media since 9/11

If you would like to submit a proposal to the series, please email us:

Cvernall@stanford.edu

h.rogers@gold.ac.uk

lisa.perrott@waikato.ac.nz

We’re pleased to announce two new issues of Popular Music History:

11(3) General Issue

This issue has two articles on Rush, particularly apt given the recent death of Neil Peart. Just as importantly, tribute is paid to Dave Laing, and we thank Adam Behr and Martin Cloonan for their permission to reprint earlier takes on Dave’s career, and his qualities as a valued research comrade.

With its rich cultural heritage and vibrant performance scene, Germany is a land of music. Millions of people sing in choirs or play an instrument; hundreds of theatres, orchestras, ensembles and bands ensure an offering of immense density. The new 620-page publication by the German Music Information Centre includes background details and data about music culture in Germany. “Musical Life in Germany” includes 22 articles by well-known authors from the spheres of academia, cultural policy and musical practice. Subjects range from music education and training to amateur and professional music-making and the music economy.

Please follow the link to the latest issue of the IASPM Journal: https://iaspmjournal.net/index.php/IASPM_Journal/issue/view/69

«  MUSIC & HACKING » 

Volume ! The French Journal of Popular Music Studies,

no. 16-1, edited by Clément Canonne and Baptiste Bacot

– 198 p. — 19 €

– Table of contents: https://www.cairn.info/revue-volume-2019-2.htm

– Order the issue: https://www.lespressesdureel.com/ouvrage.php?id=7682

– Subscribe: http://www.seteun.net/spip.php?rubrique4

This issue examines some of the practices in which music and hacking meet. At first closely related to the development of American computer science research laboratories, hacking has since spread across various fields of human activity not necessarily related to information and communications technology. Hence, music provides both a theoretical and empirical space within which one can question hacking’s attributes, and delineate their aesthetic and organolologic effects, but also their integration into musicians’ discourses, or the way these musicans create musical communities and belong to them.

The interview with hacking pioneer Nicolas Collins is available in English on the site Books & Ideas : https://booksandideas.net/Hacking-Through-Contemporary-Electronic-Music.html

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