[ANPPOM-L] FW: ¡ Que Viva la Musica Popular! Cidade do M é xico 25-29 jun 2007

Sex Out 27 10:42:17 BRT 2006

------ Forwarded Message
> From: <mulhoa em unirio.br>
> Reply-To: <etnomusicologiabr em yahoogrupos.com.br>
> Date: Fri, 27 Oct 2006 10:45:45 -0200
> To: <etnomusicologiabr em yahoogrupos.com.br>
> Subject: [etnomusicologiabr] ¡Que Viva la Musica Popular! Cidade do México
> 25-29 jun 2007
> 
> The International Executive for 2005-2007 is pleased to announce the next
> IASPM biennial conference:
> 
> ¡Que Viva la Musica Popular!
> 
> Mexico City, Mexico
> June 25-29, 2007
> 
> In keeping with the increasingly broad scope of popular music studies, the
> Executive welcomes papers based on any disciplinary approach, including
> musicology, semiotics, philosophical/cognitive studies, anthropology, gender
> and cultural studies, sociology, literary criticism, etc.
> 
> Abstracts should be no longer than 250 words, and should include the
> following:
> 
> ·         Paper Title
> 
> ·         Surname, First Name
> 
> ·         Institution
> 
> ·         Email Address
> 
> ·         Intended Stream
> 
> The conference organizers would ask that you provide three to five keywords in
> order to help facilitate the organization of the schedule.
> 
> Deadline for abstracts is November 1, 2006.
> 
> Abstracts should be sent to the following address: pop2007 em iaspm.net
> <mailto:pop2007 em iaspm.net>
> 
> *NB: When attaching abstracts, please send as both an .rtf and .doc.  Please
> use your surname as the file name, eg: stahl.rtf, stahl.doc.
> 
> The streams for this conference are as follows:
> 
> 1. Songs of Desire
> Convenor: Franco Fabbri <fabbri em dico.unimi.it <mailto:fabbri em dico.unimi.it> >
> 
> Feelings, emotions, passion are at the same time the subject of many popular
> songs (content), the factors that influence how subjects are articulated
> (expression), the shared competence within a genre or across genres (code).
> Affect in popular music is coded/decoded by the mind, interpreted by the body,
> predominantly mediated by the voice. This stream welcomes papers based on any
> disciplinary approach (musicology, semiotics, philosophical/cognitive studies,
> anthropology, gender and cultural studies, sociology, literary criticism,
> etc.) approaching song (individual songs, genres,
> idiolects) as the meeting  point of thought and feelings, the body, the human
> voice, for any  purpose and project.
> 
> 2. Performance 
> Convenor: Shane Homan <Shane.Homan em newcastle.edu.au
> <mailto:Shane.Homan em newcastle.edu.au> >
> 
> Musical performance remains one of the central rituals and pleasures of
> popular music. This stream invites consideration of understandings of
> performance within a range of cultures and contexts, including the
> re-evaluation of Œclassic¹ performances on the stage or screen that continue
> to inform contemporary practices and histories; debates about repetition and
> improvisation; or performance within multimedia environments, and the
> implications for the presentation and reception of the musical text in
> relation to particular discourses of authenticity. We welcome papers on the
> cover, tribute, or interpretation that investigates performing the Œoriginal¹,
> or contributions to debates about stage virtuosity, including understandings
> of musical skills, training and creativity. Discussions can extend to how
> famous musicians Œperform¹ their celebrity roles in a variety of industry and
> media contexts; or how audiences Œperform¹ subcultures or fandom roles; or
> take on the role of Œperformer¹ themselves.
> 
> 3. Technology & Industry
> Convenor: Martha Tupinambá de Ulhôa <mulhoa1 em gmail.com
> <mailto:mulhoa1 em gmail.com> >
> 
> The use of the phonogram, the disc, the tape, and now the computer archive has
> changed enormously the way people produce and listen to music.  Music
> technology has even blurred the distinction between the spheres of music
> production and consumption, as well as the notions of authorship and
> performance.  Also the music industry has had to adapt to new ways of
> consumption that bypass its control, as the debate on copyright and the
> release of "historical" performances transfers is showing.  This stream
> welcomes papers dealing with the technological impact on popular music
> practices, including studio, live and even private popular music production
> and consumption questions from cultural, aesthetic, ideological, economic,
> sociological, historical, legal or musicological perspectives.
> 
> 4. Nation, Region, City
> Convenor: Michael Drewett <M.Drewett em ru.ac.za <mailto:M.Drewett em ru.ac.za> >
> 
> This stream is concerned with popular music meanings which are specifically
> located within the context of space and place, whether on the local, national,
> global or glocal level, including the role of music in urban and suburban
> structures, in the construction of national identities and policies and in
> place-related practices of domination and resistance, such as post-colonial
> struggle. Papers that place particular emphasis upon the spatial dynamics of
> popular music are welcomed.
> 
> 5. Popular and Unpopular Musics
> Convenor: Geoff Stahl <geoff.stahl em vuw.ac.nz <mailto:geoff.stahl em vuw.ac.nz> >
> 
> The notion of Œthe popular¹ can be cast in multiple ways. The meaning and uses
> to which Œthe popular¹ is put means different things with regard to taste,
> musicians, the industry, governments, etc. The notion of what constitutes
> popularity and what that popularity may mean is fraught and contested in a
> number of fields, whereby the production, distribution and consumption of
> music can become the locus of many different kinds of struggles.  This stream
> is designed to take up many of these issues, considering the different
> resonances of Œthe popular¹ (and by inference its so-called opposite, Œthe
> unpopular¹). 
> 
> Martha Tupinambá de Ulhôa
> Instituto Villa Lobos
> Programa de Pós-Graduação em Música
> UNIRIO
> 
> tel-fax 55-21-2287 3775
> __._,_.___ 
> 

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