07 Dec, 2008

»Popular Music Worlds, Popular Music Histories«

Posted by: Redaktion In: News

Die International Association for the Study of Popular Music (IASPM) läd vom 13. bis 17. Juli 2009 nach Liverpool ein. Auf dem Kongress sollen die vielfältigen Wechselbeziehungen zwischen “populären Musikwelten” und deren Geschichtsbild reflektiert und diskutiert werden. [Kongress-Webseite]

Es wird Panels zu folgenden Themengebieten geben:


1) Studying Popular Music: A Reassessment

Leitung: Martha Tupinambá de Ulhôa / Rio de Janeiro /

Professorin für Musikwissenschaft am Villa Lobos Institute und im Postgraduierten Programm an der Univesity of Rio de Janeiro (UNIRIO) // Erste Schriftführerin der ANPPOM (National Association of Research and Post-Graduation in Music) // Vizepräsidentin von IASPM-LA (Latin American Association of popular Music) // Forschungsschwerpunkt: Popular Musik Brasiliens.

Since the first attempts in the late 1970s and 1980s much has been done in terms of adapting analytical tools from several disciplines to the study of popular music. This stream welcomes papers dealing with the analysis of specific aspects of popular music (timbre, texture, prosody, melody, rhythm, harmony, arranging, etc.) or case studies of particular songs or instrumental pieces from any theoretical perspective.


2) Popular Music and Technology in a Historical Context

Leitung: Carlo NardiBerlin /

Dj, Musikproduzent, Gitarrist, Promoviert im Fach Musikwissenschaft an der Universität Trento und der Humbold-Uni Berlin // Exekutivausschussmitglieder der IASPM.

Different intellectual technologies have contributed to the way people produce and listen to popular music, be it orality, printing, recording or even the Internet. This stream welcomes papers dealing with the technological impacts upon popular music practices, including questions from cultural, aesthetic, ideological, economic, sociological, historical, legal or musicological perspectives.


3) Music, History and Cultural Memory

Leitung: Shane Homan / Caulfield, Australia /

Dozent für Communication and Performance Studies an der Monash University in Caulfield, Forschungsschwerpunkte: Popular music industries, Cultural industries and media policy, Youth and popular music.

This stream seeks contributions that investigate popular music histories and the methodological challenges in their researching and writing. What particular historical narratives and agendas emerge, and what are their effects? The stream includes work that examines the role of popular music history in wider national histories and their presence in both informal (e.g. fan club newsletters) and formal (e.g. museums) contexts. Papers are also welcome that explore the role of ‘unofficial’ / ‘shadow’ music histories that challenge or offer alternatives to grander narratives and industry mythologies, to comprehend a politics of cultural memory studies in terms of what is officially preserved from oblivion and what is socially excluded from remembrance.


4) Music, Mediation and Place

Leitung: Geoff Stahl / Wellington, Neuseeland /

Doktor der Kommunikationswissenschaft.

The intersection of place-making and music-making as a site of mediation is a complicated one. From the use of certain music scenes or moments which have been mobilized as heritage myths and tourist packages, to issues related to the use of micro and mass media to bind musicmakers together–locally, regionally, nationally, and globally–the intersection of time and place as a highly mediated process has proven a vexed and complex phenomenon. We welcome papers which explore the many issues relating to music histories, representations, discourses, spaces and places, as well as those that consider the various research methods which might be best be deployed to capture this phenomenon.


5) Musical Struggles

Leitung: Michael Drewett / Grahamstown, Südafrika /

Dozent der Soziologie an der Rhodes University, South Africa.

Being a musician inevitably involves struggle: Musicians starting out struggle to make it, musicians ‘in the margins’ struggle towards mainstream coverage, some musicians involve themselves in political struggle to do with identity issues and/or social issues, while in contexts of censorship, repression and control some musicians struggle to be heard. Even commercially successful musicians can become embroiled in corporate struggle over contractual obligations. This stream seeks contributions which document and conceptualise such struggles within a socio-political framework.

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