[ANPPOM-Lista] CFP: Volume! 2019: Experts, non-experts and the participatory production of knowledge: the case of popular music research

[Carlos Palombini]

After four decades of of studies, the subjects and objectives defined in
several essential texts on popular music published from the late 1970s
onwards (Frith 1978, Tagg 1982, Wicke 1990, Middleton 1990) seem to have
been largely covered. Whether in terms of methodology, interdisciplinarity,
decompartmentalisation or decentralisation; or even in terms of
institutional recognition and integration into the academic field, the
knowledge acquired has been considerable to the point that, in return, it
sometimes influences the disciplines from which popular music studies
originally drew its inspiration.

However, many questions remain unanswered. Have popular music studies truly
embraced all types of popular music? Have popular music specialists really
succeeded in covering all musical genres? Hasn’t its initial struggle
against various forms of cultural elitism actually been transposed to
popular repertoires? Can we refer to over- or under-representation within
styles, genres and their associated communities? Can or should a balance be
guaranteed and how? Do studies relating to a participatory production of
knowledge offer new opportunities for the study of popular music (Callon,
Lascoumes & Barthe)? Is it ultimately a question of re-thinking the role of
experts and non-experts in the elaboration of narratives relating to
popular music?

The purpose of this special edition of Volume! The French journal of
popular music studies is to offer a retrospective and critical reflection
on popular music studies’ initial vocation, to bring to light repertoires
that are seldom studied and even sometimes discredited. It also aims at
encouraging new reflections and research avenues regarding this initial
vocation, by especially envisaging the collaboration of experts and
non-experts in the knowledge-building process.

Themes

Below is a non-exhaustive list of themes that could be covered in proposed
articles:

Historiography and critical historiography of popular music studies;

Relationships between culture and issues of power, cultural studies;

Science, technology and society, actor-network theory and the participatory
production of knowledge;

The influence of the sociology, the musicology, the history, the economics
of popular music on their respective “mother” disciplines;

The established role of fans and fandom on the academic study of popular
music.

Editorial process

There are two parts to the assessment process.

The contributors shall first send proposals (6,000 characters long) to
Christophe Pirenne, Christophe Levaux and the Volume ! team to the
following email addresses: christophe.levaux em uliege.be, cpirenne em uliege.be
and equipe em seteun.net

Before 7 April 2019.

After notification of the first selection in April, selected authors must
send in their full contributions before 1 October 2019. These complete
versions will then be assessed anonymously, by experts in the field, in
accordance with the journal’s editorial process.

https://journals.openedition.org/volume/6370

-- 
carlos palombini, ph.d. (dunelm)
professor de musicologia ufmg
professor permanente ppgm-unirio