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NEWS

CFP: IASPM Canada 2019 Conference, Montreal

IASPM CA

We are happy to announce that the call for papers for the IASPM Canada 2019 Conference in Montreal is now open! Please consider submitting an abstract to what will surely be an exciting and engaging conference in one of the music capitals of Canada.

PDF version here.


[English follows below]

Héritages et avenir : Le passé et le futur de la musique populaire

Conférence annuelle de l’IASPM-Canada

Université du Québec à Montréal (UQAM)

24 au 26 mai 2019

Date limite pour les soumissions : 1er décembre 2018

L’année 2019 offre à tous ceux qui s’intéressent à l’étude de la musique populaire une conjoncture permettant de considérer le futur et le passé. Nous sommes à l’aube de la troisième décennie du 21e siècle et nous pouvons nous attendre à des changements continus au niveau de la technologie, l’art, la politique, le marché ainsi que la médiation de la musique et la culture populaire. Cette année marque plusieurs étapes historiques:

  • 20 ans que le partage de fichiers peer-to-peer (P2P) est venu perturber des modèles d’affaires bien Ă©tablis qui distribuaient et vendaient des produits musicaux;

  • 40 ans depuis la première sortie commerciale d’un enregistrement de hip hop (Sugarhill Gang, «Rapper’s Delight»), un nouveau style rĂ©volutionnaire qui dĂ©finit constamment la musique populaire de nos jours;

  • 50 ans depuis les festivals de Woodstock et Altamont, qui sont vus par plusieurs comme des Ă©vènements marquants de l’histoire de la musique populaire de l’après-guerre.

C’est donc un bon moment de réflexion et d’anticipation. Dans le cadre de notre conférence de 2019, qui se déroulera en conjonction avec la société canadienne pour les traditions musicales (SCTM), le comité de programme de l’IASPM accepte les articles, les panels ainsi que des tables rondes portant sur le passé, présent et futur possible de la musique populaire. Les soumissions peuvent porter sur, mais ne sont pas limités à:

Musique populaire et «Devenir»

La musique est un art temporel qui est toujours émergeant et en devenir. Quels sont les sons, les relations, les technologies, les changements générationnels ainsi que les stratégies artistiques émergentes qui peuvent nous donner une idée de ce que pourrait être la musique dans un futur proche? Comment est-ce que « devenir » peut décrire le processus artistique et nous permettre de mettre au point des théories sur ce que seront les nouvelles chansons, sons, scènes, enregistrements, genres, etc.? Quel rôle jouent le nouveau et l’inattendu dans les histoires et les processus se déroulant dans la musique populaire?

Histoire, récits, révisions

Nous acceptons les soumissions qui se penchent sur les moment décisifs dans l’histoire de la musique populaire en mettant en question et analysant les récits de la musique populaire qui demandent d’être revisités ou déconstruits, et/ou de reconsidérer des moments historiques à l’aide de nouveaux points de vue théoriques.

Études de la musique populaire, agence collective et mouvements sociaux

L’année 2019 marquera les 40 ans de la sortie de The Sociology of Rock, de Firth, 25 ans de Queering the Pitch de Brett, Wood et Thomas, 25 ans depuis la sortie de Black Noise par Rose et un peu plus de 20 ans depuis la publication de Sexing the Groove par Whiteley, pour nommer quelques ouvrages importants qui ont théorisés la musique populaire en tant que pratique sociale. Nous acceptons les soumissions qui portent sur la contribution de l’étude de la musique populaire sur les études des mouvements et identités sociaux tels que la race, l’ethnicité, la classe, le genre, la sexualité les habiletés. Nous acceptons aussi les soumissions qui portent sur le présent et le futur, incluant le rôle de la musique populaire sur les mouvements de résistance et résurgence autochtone, Black Lives Matter ou #metoo,

Musique populaire et pédagogie

Pendant les 40 années depuis l’émergence de la musique populaire comme champ d’études supérieures, comment celle-ci a-t-elle été enseignée? Quelles pédagogies en sont ressorties? À quel point les professeurs et universités ont-ils réussi à inclure la musique populaire dans leurs programmes universitaires? Quel est le futur possible de l’enseignement de la musique populaire? Quelle place peut avoir la musique populaire dans la décolonisation des programmes universitaires?

Musique populaire, âge et vieillissement

L’association qu’a la musique populaire avec la jeunesse a fait en sorte que celle-ci ait un sens fort d’actualité et d’urgence. Cependant, des recherches récentes, telles que Music, Style and Aging: Growing Old Disgracefully de Bennett (2013) remettent en question l’idée que la réception, la signification et l’impact économique de la musique populaire sont seulement centrés sur les jeunes. Y a-t-il un changement dans la relation entre les groupes d’âge et les genres, médias et communautés de la musique populaire au 21e siècle? Existe-t-il des continuités dans l’histoire de la musique populaire en ce qui a trait la musique et les différents groupes d’âge? Comment les genres vieillissent-ils?

Technologie et future de la musique populaire

Quels sont les effets des technologies émergentes- telles que l’intelligence artificielle, l’holographie ainsi que la réalité virtuelle- sur la musique populaire? Comment les nouvelles technologies de divertissement et loisirs- comme les réseaux sociaux, les vidéos en continu, les appareils mobiles ou les jeux vidéo- affectent-elles la présence de musique populaire dans la vie des gens? Ces technologies produisent-elles de nouvelles synergies, ou ont elles entraîné une baisse de proéminence que la musique populaire avait dans la culture populaire?

Processus de soumission:

Nous acceptons les soumissions portant sur les thèmes ci-dessus, ainsi que sur d’autres thèmes. Nous acceptons aussi les soumissions spéciales qui portent sur les intérêts et inquiétudes des étudiants, le développement professionnel ainsi que l’enseignement de la musique populaire. Veuillez s’il vous plaît envoyer vos soumissions par courriel sous forme de document Word MS (titré : nom de famille prénom.docx) à iaspmCanada2019@gmail.com. Les soumissions de présentateurs individuels devraient aussi inclure un résumé d’un maximum de 250 mots ainsi que des informations sur l’auteur (nom, affiliation, adresse courriel et une biographie d’environ 50 mots). Les soumissions de panel devront indiquer si elles ont besoin de 90 minutes (pour 3 articles) ou 120 (pour 4 articles).

Veuillez aussi indiquer si vous avez des besoins spécifiques (tels qu’audiovisuels) pour votre présentation. Nous acceptons aussi des formes de présentations alternatives telles que les séminaires et des projections cinématographiques.

Vous recevrez un accusé de réception de votre soumission par courriel.

Comité de programme 2019

  • PrĂ©sident: Chris McDonald (Cape Breton University)

  • ComitĂ©: Norma Coates (Western University), Brittany Greening (University of Alberta), Serge Lacasse (UniversitĂ© Laval), Annie Randall (Bucknell University), Alyssa Woods (University of Guelph)

  • Arrangements locaux: Martin Lussier (UQAM), Line Grenier (UniversitĂ© de MontrĂ©al)


Legacies and Prospects: The Pasts and Futures of Popular Music

IASPM-Canada Annual Conference

Université du Québec à Montréal (UQAM)

May 24-26, 2019

Submission Deadline: December 1, 2018

For those interested in the study of popular music, the year 2019 provides a juncture to consider both the future and the past. We are on the threshold of the third decade of the twenty-first century, and can expect new and ongoing shifts in the technology, artistry, business, politics, and mediation of music and popular culture. Historically, this year marks several milestones:

  • 20 years since peer-to-peer (P2P) file sharing disrupted long-established business models for the distribution and sale of music commodities

  • 40 years since the first commercially-released hip hop recording (Sugarhill Gang, “Rapper’s Delight”), a revolutionary new style that continues to define popular music’s present

  • 50 years since the Woodstock and Altamont festivals, seen by many as watershed events in the post-war history of popular music.

Thus, the time is ripe for anticipation and reflection. For our 2019 conference, held in conjunction with the Canadian Society for Traditional Music (CSTM), the IASPM program committee invites proposals for papers, roundtables and panels on the topics of popular music’s pasts, presents, and possible futures. Areas of inquiry may include, but are not limited to:

Popular Music & “Becoming”

As a medium, music is time-based and is always “emergent,” always “becoming.” What are the emerging sounds, relationships, technologies, generational shifts, and artistic strategies that are emergent, and give us a sense of what popular music might become in the near future? How could “becoming” describe the creative process, and help us theorize the emerging of new songs, sounds, scenes, recordings, genres, etc.? What role does the new and unexpected play in the histories and processes that unfold in popular music?

Histories, Narratives, Revisions

We invite papers that take stock of any turning points in popular music’s history, analyze and challenge any narratives about popular music which require reassessment or deconstruction, and/ or reconsider historical moments from new theoretical standpoints.

Popular Music Studies, Collective Agency & Social Movements

2019 marks 40 years since Frith’s The Sociology of Rock, 25 years since Brett, Wood, and Thomas’s Queering the Pitch, 25 years since Rose’s Black Noise, and just over 20 years since Whiteley’s Sexing the Groove, to name just a few landmark works that theorized popular music as social practice. We invite papers that take stock of popular music studies’ contribution to the study of social identities and movements, including race, ethnicity, class, gender, sexuality, and ability. We also invite papers that look to the present and future, including popular music’s role in movements of Indigenous resistance and resurgence, Black Lives Matter, or #metoo.

Popular Music & Pedagogy

In the four decades since popular music emerged as an area of study in higher education, how has it been taught? What pedagogies have emerged? How successful have teachers and institutions been in integrating popular music into curricula? Where can or should the teaching of popular music go in the future? What place might popular music studies have in decolonizing curricula in higher education?

Popular Music, Age & Aging

Popular music’s association with youth once gave it a strong sense of currency and immediacy. But recent studies, like Bennett’s Music, Style and Aging: Growing Old Disgracefully (2013), call into question the idea that popular music’s reception, meaning, and economic impact centres on youth alone. Are relationships between age groups and popular music genres, media, and communities changing in the new millennium? Do continuities exist across popular music’s history regarding music and different age groups? How do genres themselves age?

Technology & Popular Music’s Future

What kinds of effects are emerging technologies – such as artificial intelligence, holography, or virtual reality – having on popular music? How are new entertainment and leisure technologies – like social media, video streaming, mobile devices, or video games – affecting popular music’s presence in people’s lives? Are these producing new synergies, or are these new leisure and entertainment technologies causing popular music to lose some of the prominence that it once enjoyed in popular culture?

Submission Process:

We welcome proposals on these and, of course, any other themes. We also welcome special presentation proposals that address student interests and concerns, professional development, and teaching popular music. Please submit proposals by email, as MS Word documents [labeled with last name_first name.docx] to iaspmCanada2019@gmail.com. Individual presenters should provide an abstract of no more than 250 words, and include author information (name, affiliation, email address, and 50-word bio). Panel proposals should include a 150-word overview of the panel in addition to the individual paper proposals, of 250 words each. Panel proposals should specify if they will require a 90-minute slot (for three papers) or a 120-minute slot (for four papers).

Please indicate in your proposal any special audio-visual or other needs for your presentation. We also welcome alternative presentation formats such as workshops and film screenings. You will receive an email confirming receipt of your submission.

2019 Program Committee:

  • Chair: Chris McDonald (Cape Breton University)

  • Committee: Norma Coates (Western University), Brittany Greening (University of Alberta), Serge Lacasse (UniversitĂ© Laval), Annie Randall (Bucknell University), Alyssa Woods (University of Guelph)

  • Local Arrangements: Martin Lussier (UQAM), Line Grenier (UniversitĂ© de MontrĂ©al)

IASPM Canada 2018 Book Prize Winner

IASPM CA

sergesophie.jpg

Congratulations to Sophie Stevance and Serge Lacasse on winning the IASPM Canada 2018 Book Prize with their book, Research Creation in Music and the Arts. 

The following are comments from the prize committee. 


Stevance and Serge Lacasse’s new book Research Creation in Music and the Arts struck the adjudicators as a very unusual submission and a very valuable one. It is unusual because it is not a case study or a genre study, it does not make popular music practices or texts its main concern. The book focuses instead on institutionalized aspects of the academic study of popular music. It is a book about disciplinary and pedagogical concerns that are pivotal and indeed urgent in some particular contexts—like music departments and other departments where research and creation coexist—but that are also of fundamental importance across a much wider range of contexts. And this is where we find its extraordinary value.

The book tackles a very current development in arts-based disciplines, thinking very carefully through the categories of research and creative work, and what they mean in their respective academic contexts. This current development is this: various sets of accumulating forces inside and outside of the north American academy are pressing students, faculty, administrators, and funding bodies to engage in, sell, and support “research-creation” projects. As anyone who has had anything to do with such projects and programs knows, they are a mare’s nest of problems. I and my colleagues deal with these problems continually.

Perhaps even more consequentially, federal and provincial funding bodies offer support for “research-creation” projects, and for the same kind of “black-box” problems, their adjudication and criteria are obscure, irrational, and unpredictable. This may seem like “inside baseball”—arcana that could only possibly be of interest to a tiny handful of people who are already aware of and invested in these issues. And perhaps in the hands of other scholars, that’s exactly what this book would be. But this is definitely NOT the case here. In fact, I’ve already had cause to talk this book up to people not in music or the arts because of its extraordinary practical usefulness.

The book offers a comparative analysis of “research” and “creation” as two distinct epistemologies; it offers a fascinating contextual account of the integration of non-PhD bearing artists into universities in the 1970s, and a careful explanation of the many perverse outcomes of largely well-intentioned move; and it lays out a framework for enabling the productive interrelation of research and creation epistemologies and addressing the various perversities encountered by people working in affected areas.

This first chapter is a standout because, in identifying and explaining the basic differences between “research” and “creation,” the book offers a model of research that would benefit any incoming graduate student or any creative person interested in turning their attention to doing research. As someone who has struggled to find texts that help students understand what exactly they’re signing up for when they begin their program, I am very excited to assign this chapter. Not because I teach artists, but because the book’s characterization of creation’s solipsism will be an extraordinary help in making students aware of their of the status of their undisciplined knowledge and opinion.

Stevance and Lacasse write that

the ideas contained within the artistic practice, as well as the results of that practice, need to be extracted, interpreted, and compared to other interpretations in order to become knowledge. Knowledge can only be born of comparison, a challenging of ideas. It cannot simply emanate from one subjectivity and address other subjectivities.

To me, this aspect of the book will be useful in teaching because it helps define research and knowledge-generation not only by talking about what it is, but what it isn’t.

Suffice it to say that the rest of the book is equally rigorous, provocative, and useful. One more quotation should help sum it up:

Creative projects…are neither research nor research-creation because the objective remains focused on producing artistic work. … A research-creation project does not study the creation alone: on the contrary, research and creation are interdependent, and the goal is to observe and study their interactions when both processes are in operation. The difference between these two approaches lies in the impact that research-creation has on artistic creation; in this situation, the creative process is dependent on and influenced by research, and research needs this artistic practice in order to produce results (86).

At times the book’s approach is strident and shows exasperation, at other times it is deeply optimistic and generous. The book has the potential to significantly influence research-creation projects, and how they are taught, and also may affect how granting agencies understand research-creation projects (and how they define both objectives and outcomes). We adjudicators have seen projects confusingly/murkily calling themselves “research-creation” in our own disciplinary backyards, and the book does a lot to clear up what such projects really entail. We expect to refer to this text again in the future, both for the benefit of our own work, and as we serve on SSHRC committees where such projects surface.

Thank you Sophie and Serge!

Brittany Greening: IASPM Narvaez Prize Winner 2018

IASPM CA

 Brittany Greening and Matt Stahl

Brittany Greening and Matt Stahl

Congratulations to Brittany Greening on winning the IASPM Narvaez Prize for best graduate student paper at IASPM Canada 2018 in Regina, Saskatchewan! 

The following are comments from the prize committee. 


Brittany Greening’s paper on Goldie and the Gingerbreads aims to retrieve this path-breaking all-female group from what she convincingly demonstrates is an undeserved obscurity. Confronted by existing categories—particularly a ruling binary of “girl group” versus “rock’n’roll band” and the value-laden and gendered definitions associated with each side of that binary—Goldie and the Gingerbreads appear kind of stranded, historically, because they don’t fit easily into either category. Greening’s work tackles this binary in a way that helps us appreciate the diversity of gendered and genre-d voices of the early 1960s.

Greening’s examination of the failure of popular music scholarship to accord much significance to Goldie and the Gingerbreads illuminates how gendered assumptions and prejudices still devalue and obscure certain practices because they are the practices of women. Thus much of the paper brings evidence to bear showing that Goldie and the Gingerbreads were at least as much a rock’n’roll band as they were a girl group. One of Greening’s primary arguments is that, indeed, they were a rock’n’roll band who were pressured on all sides to act like a girl group. Producers, for example, put gendered limits on their ability to determine their own sound and to choose the tunes they would prioritize. But at the same time, Greening shows, the leader of the group exercised relatively rigorous control over their image, crafting it to suit dominant gender stereotypes of the early 60s; a pregnant member was, it appears, fired, and the leader reveals anxiety about any of the band’s members appearing too butch. These matters can be read as evidence both of their autonomy and their struggles with heteronymous forces.

The committee found that this paper was an admirably solid piece of work, about a clearly defined object, that sets out to actually map and intervene in the field. That is, this paper not only adds to our knowledge of the diversity of gendered experiences in early 1960s popular music, it helps us to understand blind spots in our field, and it reveals some of what has been hidden to us through our own limitations.

New Series: Auto-Musicologies

IASPM CA

French Follows...

We all have that album, concert, song, music video, and so forth, which has stuck with us. Perhaps this moment/text shaped your career, your music tastes, your relationships, or your musicianship. This new series, published on the IASPM Canada website, is a space to share those moments. Share your strong reactions while critically engaging with the musical outputs that have strongly impacted you. Situate texts in space, place, and time, in relationship to your own experiences.

In revealing the personal, we strengthen our camaraderie through humour, knowledge exchange, and debate. There is no such thing as a “guilty pleasure,” as we are all champions for the popular!

The format a post takes is intentionally open; interpret these prompts are you see fit. A maximum of 1200 words is preferred. The inclusion of media is encouraged.

Please contact Melissa Avdeeff at iaspmcanada@gmail.com for submissions, idea discussions, media inclusion questions, or any other queries.

---

Nous avons tous un album, une chanson, une vidéo de musique, etc. qui nous a marqué. Peut-être même que ce moment/texte a façonné votre carrière, vos goûts musicaux, vos relations ou encore votre musicalité. Cette nouvelle série qui sera publiée sur le site web de l’IASPM Canada vous permettra de partager ces moments. Nous vous invitons à partager ces fortes réactions tout en vous engageant de manière critique avec ces influences musicales qui vont ont grandement marqués. Situez vos textes dans un espace, un lieu et un temps en relation avec vos propres expériences.

Lorsque l’on dĂ©voile des expĂ©riences personnelles, nos liens mutuels deviennent plus forts avec l’aide d’humour, de connaissances, d’échanges et de dĂ©bats.  Il n’existe pas de « plaisir coupable », puisque nous sommes tous champions du populaire!

Le format de vos publications est ouvert, de manière intentionnelle : interprétez vos impressions de la manière qui vous semble la plus logique. Un maximum de 1200 mots est tout de fois préférable et l’inclusion d’un média est encouragé.

Veuille contacter Melissa Avdeeff à l’adresse suivante pour soumettre vos publications, idées de discussions, questions sur l’ajout d’un média ainsi que toute autre demande: iaspmcanada@gmail.com.

An Interview with Susan Fast, IASPM Canada President

IASPM CA

IASPM Canada is starting a new interview series in order to find out more about our members and to share news about new, ongoing, or completed projects. If you have some news that you would like to share, please email Melissa Avdeeff

We thought it would be fitting that our first interview be with our current IASPM Canada President, Susan Fast. 

Susan Oslo Symposium.jpg

Susan Fast is Professor in the Department of English and Cultural Studies at McMaster University in Ontario, Canada and Director of the Graduate Program in Gender Studies & Feminist Research. She is a musicologist whose primary area of research is popular music since World War II.  Her areas of expertise include representations of gender and sexuality, race and ethnicity, constructions of self and other, performance and performativity, and geopolitical violence/conflict in contemporary popular music. She is author of In the Houses of the Holy:  Led Zeppelin and the Power of Rock Music (Oxford, 2001), Michael Jackson:  Dangerous (Bloomsbury, 33 1/3 series, 2014), co-editor (with Kip Pegley) of Music, Violence and Politics (Welselyan, 2012) and co-editor (with Craig Jennex) of the forthcoming Hearing the Political: Queer & Feminist Interventions in Popular Music Performance (Routledge, 2018)

As the current president of IASPM Canada, what originally drew you to joining the organization?

My first IASPM CA meeting was at Western--going way back to the 90's--but I really became involved when Charity Marsh was elected to the Executive and encouraged more of us to run for office (Charity was, by the way, the first woman to sit on the IASPM CA exec!).  Charity brought a considerable amount of energy and enthusiasm to the organization, especially during her term as President; the two annual meetings she hosted in Regina were among the best I've attended (and that's taking nothing away from the outstanding meetings hosted elsewhere, many of which have been fantastic). Hoping for a repeat in 2018!!

Considering Canada’s history of attempting to establish both institutional and cultural boundaries between Canada and US, including its music, do you think IASPM Canada has an obligation to uphold these distinctions?

This is a difficult question, but I lean towards yes.  There are a number of scholars who work in the US but regularly attend IASPM CA meetings; they're an important part of the organization.  And many of us also go to the IASPM US meetings.  But I really think it's important to maintain two separate branches of IASPM.  Aside from the crucially important function of the annual meeting of IASPM CA bringing together Canadian scholars of popular music, I believe we should work to highlight the research of these Canadian scholars, to focus on Canadian popular musics, and to try to offer a forum in which grad students and young Canadian scholars can be mentored. They (or we) shouldn't have to go to the U.S. for this.  

What does the future of IASPM Canada look like to you? What do you see as your role in shaping that future?

Right now I'm working with the Executive to establish (or re-establish) a working infrastructure for IASPM CA.  We've reconstructed the website and have instituted a way of maintaining it and keeping it up to date; we're working on rewriting the bylaws; we've been working with CSTM on sharing their journal MusiCultures between the two organizations.  I'd like to do a bit more of this infrastructure work:  naming the book prize, for example, making sure that we have at least one professionalization session for grad students at every annual meeting.  This may sound hum ho, but having a sound infrastructure is pretty important!  Beyond that, I'm keen to expand our membership, both through reaching out to scholars of pop music that don't currently participate in IASPM CA, and to journalists and others in the Canadian music scene who might want to become involved in the organization.  I'm interested in figuring out how we might raise money to support things like bursaries, scholarships and further prizes for our members, especially students.  I want IASPM CA to be the go-to place for Canadian scholars working on popular music.

You have a history of researching artists who transgress expectations of gender, race, and other socially constructed identity expressions, such as Michael Jackson and Led Zeppelin. What draws you to these figures?

My scholarship has always been profoundly linked to my own experiences with popular music; I've essentially been trying to figure out my deep musical investments through writing about them for about 30 years.  Of course this extends to trying to figure out other people's investments in certain kinds of popular music too.  Artists who transgress normative socio-cultural boundaries--and manage to become commercially successful while doing so--are incredibly powerful figures and I want to understand something about how they do it, and why, and why we end up caring and what difference it makes in people's lives and possibly the larger culture(s).  Their transgressions are inevitably made in large part through incredibly compelling music, which is why I've focused so much on musical sound in my work.

With the resurgence of identity politics we are seeing, especially in the US, how do you see this impacting the producers and consumers of popular music?

I think we have to stop saying that identity politics don't matter.  I understand the arguments that focusing on identity politics might keep conversations too small, but we only have to look at what's going on everywhere--not only the US--to understand that so much of what's being referred to as "tribalism" (hugely problematic term, but it's being thrown around on the news every day) is, exactly, identity politics.  I'm not sure how it's affecting popular music:  despite artists, scholars and journalists wanting to talk about the breakdown of generic boundaries in music (and there are certainly great examples of that), they seem to be more or less intact and they continue to be defined by race and gender.

What project(s) are you working on at the moment? 

Craig Jennex and I are editing a collection of essays for Routledge called Hearing the Political:  Queer and Feminist Interventions in Popular Music Performance.  Nineteen scholars are contributing to the project; we're hoping it will be published in 2018.

Thanks Susan! Looking forward to seeing the development of IASPM Canada over the course of your term as President.

 

IASPM Canada Website Update

Kris Ohlendorf

Welcome to the new official website for IASPM Canada!

The site features English and French content for members to learn about the organization, key members, past conferences, and handle all membership and mailing list sign-ups. 

If you come across any issues, please contact the webmaster at krisohlendorf@gmail.com