[ANPPOM-Lista] CFP: Popular Music & Nostalgia

Guilherme Castro somba.guilherme em gmail.com
Ter Maio 8 14:33:07 BRT 2012


Call for papers: Nostalgias

A special issue of Volume! The French Journal of Popular Music Studies

Edited by Hugh Dauncey (Newcastle University) & Christopher Tinker (Heriot-
Watt University)

Online: http://volume.revues.org/2914
Version française ici : http://volume.revues.org/2912

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Volume!, the French peer-reviewed journal dedicated to the interdisciplinary
study of popular music – seeks contributions for a special issue on
nostalgia
and popular music in a variety of national, international and transnational
contexts.

This issue will explore the ways in which popular-music-related nostalgia is
produced, represented, mediatised and consumed. Morris B. Holbrook and
Robert
M. Schindler define nostalgia as "A preference (general liking, positive
attitude or favourable effect) towards experiences associated with objects
(people, places or things) that were more common (popular, fashionable or
widely circulated) when one was younger (in early adulthood, in adolescence,
in childhood or even before birth)" (2006: 108).

Nostalgia is a perennial feature of the popular-music field, and has assumed
during recent years an increasing prominence within many national contexts.
This issue represents an opportunity to contribute towards defining the
field
of popular-music-related nostalgia, engage with and build on existing
studies
in disciplines as diverse as popular music studies, cultural studies,
psychological studies and consumer/marketing research, and situate nostalgia
in relation to other associated phenomena such as memory, commemoration and
retro.

A key aim of this issue is to explore how nostalgia contributes to the
development and status of particular popular music forms and genres. Barbara
Lebrun’s study of French chanson néo-réaliste, which rose to prominence
during
the 1990s (e.g. Pigalle, Les Négresses Vertes, and Les Têtes Raides), indeed
highlights the ‘incohérences’ and ‘contradictions’ of the genre, which is
‘réactionnaire et rebelle, vieux-jeu et moderne, élitiste et
collectif’ (‘reactionary and rebellious, old-school and modern, elitist and
collective’) and combines nostalgia, conservatism, protest and distinction/
cultural exclusivity (2009: 59-60).

The role of popular music nostalgia in identity formation is a further
concern. As Tia DeNora observes, ‘Music can be used as a device for the
reflexive process of remembering/constructing who one is, a technology for
spinning the apparently continuous tale of who one is’ and as ‘a device for
the generation of future identity and action structures, a mediator of
future
existence’ (2000: 63). Andy Bennett focuses on ‘how the increasing dominance
of the retro market in contemporary popular culture is enabling respective
postwar generations effectively to relive their youth and to engage in
nostalgic representations of what it means to be young’ and ‘how such
nostalgic perceptions impact on perceptions of contemporary youth and
questions the validity of terms such as “Generation X”’ (2001: 153).

Media/internet coverage of popular music nostalgia is particularly extensive
in many national contexts. Chris Tinker (2012) has, for example, examined
the
significance of popular music nostalgia on French television, particularly
following the launch of the successful Âge tendre et têtes de bois (‘Young
and
Headstrong’, David Looseley’s translation) series of concert tours and
holiday
cruises. Such coverage has several functions: to represent the past more
positively than the present (‘simple nostalgia’), emphasise joy rather than
the ‘bittersweetness’ (Hirsch 1992; Baker & Kennedy 1994; Madrigal &
Boerstler, 2007...) often associated with nostalgia, represent a fantasy
return to youth, and promote social and cross-generational cohesion.
Coverage
also supports popular music nostalgia as a commercial force but
problematises
its status within the wider musical and cultural field.

Of particular importance are the ways in which popular music nostalgia is
experienced by listeners and consumers. Holbrook and Schindler describe, for
example, how, ‘via a process called nostalgic bonding, a consumer’s history
of
personal interaction with a product during a critical period of preference
formation that occurs roughly in the vicinity of age 20 (give or take a few
years in either direction) can create a lifelong preference for that
object’ (2006: 109). Cases include informants who ‘experienced strong
nostalgic bonding with musical recordings’ (119), a young DJ who ‘describes
his endless hours spent with a particular mixing device’ (119) and a bass
fiddle/double bass player in New York who ‘focuses on a Metropolitan Transit
Authority (MTA) button given to street musicians who perform in the
subway’ (120).

A further – more institutional – dimension of the imbrication of nostalgia
and
popular music is the way in which public policy has gradually developed
definitions of heritage which extend to cover fields of popular cultural
practice and forms, specifically allowing popular music artists, genres and
works to be included not only in private/commercial ‘Halls of Fame’, but
also
to figure in official institutions supported by cultural policy. In the UK,
the National Centre for Popular Music was a short-lived example of this
trend
but in other established museums, popular music is increasingly ‘remembered’
either through special collections, or simply made more visible through
curatorial devices such as the V&A museum’s ‘subject hub’ for Pop and Rock
music. In France, the Cité de la musique has established a successful
intermingling of celebration, education and nostalgia through temporary
exhibitions devoted to popmusic artists and genres. Nostalgia is a component
in the transformation of popular music into heritage.

Other, more general, lines of enquiry include the following:
·      nostalgia for specific decades, periods, movements, fashions
·      nostalgia and popular music canons
·      nostalgia and the past, present and future
·      nostalgia and the formation of individual and collective identities/
social cohesion
·      nostalgia and (inter)generation
·      categories of nostalgia: ‘simple nostalgia’, ‘reflexive nostalgia’;
‘interpreted nostalgia’ (Davis 1979); ‘restorative nostalgia’ and
‘reflective
nostalgia’ (Boym 2001); first-hand (‘real’)
·      nostalgia and ‘simulated’ nostalgia (Baker & Kennedy 1994) or
‘vicarious’ nostalgia (Goulding 2002)...
·      nostalgia and ‘uncertainties of the present’ (Pickering & Keightley
2006)
·      nostalgia and disruption (Davis 1979)
·      releases and reissues – music, book and film; cover versions;
revivals
and comebacks
·      nostalgia in mourning – deaths of artists/musicians and other figures
·      nostalgic anniversaries – birth, death and career
·      nostalgia in discourses of popular music and culture
·      nostalgia tourism (Connell & Gibson 2003)
Again, these are meant to be suggestive, not to define boundaries.

Deadlines:

Early abstracts: authors are requested to first send an early 100-200 word
abstract by 30 July 2012.
Deadline for final papers: 1 December 2012

Format:

-       Word 2004 (.doc), 30.000 to 40.000 characters (incl. spaces,
references etc.) ;
-       Times, 12 pts., double spacing ;
-       Harvard system of referencing (cf. the guidelines here:
http://volume.revues.org/1655).

Papers must include:

·      a short biography of the author,
·      an abstract (100 to 200 words), if possible translated into French,
·      5 to 10 key words, if possible in French and English (please look at
our lists of key words to avoid small variates, English here:
http://volume.revues.org/39 / French here: http://volume.revues.org/38) as
well as
·      the list of artists (musicians, bands, composers, writers, filmmakers
etc.) analyzed (not simply mentioned):  http://volume.revues.org/1635,
·      the musical genres analyzed in the article:
http://volume.revues.org/900?lang=en,
·      a geographical index: http://volume.revues.org/40?lang=en
·      and a chronological one: http://volume.revues.org/41?lang=en.

All of this must be sent to the following email addresses:
Hugh.dauncey[at]newcastle[dot]ac[dot]uk, C.G.Tinker[at]hw[dot]ac[dot]uk,
equipe[at]seteun[dot]net

Peer-review process:

They will be reviewed by Volume’s editorial board, before being sent out to
two or three “blind” peer-reviewers.
Publication is scheduled for October 2013.

References:

Baker SM and Kennedy PF (1994) Death by Nostalgia: A Diagnosis of Context-
Specific Cases. In: Allen CT and Roedder John D (eds.) Advances in Consumer
Research 21, Provo, UT: Association for Consumer Research: 169-174.<
http://www.acrwebsite.org/volumes/display.asp?id=7580 >
Bennett A (2001) Cultures of Popular Music. Maidenhead: Open University
Press.
Boym S (2001) The Future of Nostalgia. New York: Basic Books.
Connell J and Gibson C (2003) Sound Tracks: Popular Music, Identity and
Place.
London and New York: Routledge.
Davis F (1979) Yearning for Yesterday: a Sociology of Nostalgia. New York:
Free Press.
DeNora T (2000) Music in Everyday life. Cambridge University Press.
Goulding C (2002) An Exploratory Study of Age Related Vicarious Nostalgia
and
Aesthetic Consumption. In: Broniarczyk SM, Nakamoto K (eds.) Advances in
Consumer Research 29. Valdosta, GA : Association for Consumer Research: 542-
546. < http://www.acrwebsite.org/volumes/display.asp?id=8719 >
Hirsch AR. (1992) Nostalgia: A Neuropsychiatric Understanding. In: Sherry,
Jr
JF and Sternthal B (eds) Advances in Consumer Research 19. Provo, UT:
Association for Consumer Research: 390-395. <
http://www.acrwebsite.org/volumes/display.asp?id=7326>
Holbrook MB and Schindler RM (1989) Some exploratory findings on the
development of musical tastes. Journal of Consumer Research 16, 119–124.
Holbrook MB and Schindler RM (2006) RM Nostalgic bonding: Exploring the role
of nostalgia in the consumption experience. Journal of Consumer Behaviour
3(2), 107-127.
Lebrun B (2009) René, Ginette, Louise et les autres : nostalgie et
authenticité dans la chanson néo-réaliste. French Politics, Culture and
Society 27(2), 47-62.
Madrigal R and Boerstler C (2007) Nostalgia Advertisements: A Content
Analysis. In: Fitzsimons G and Morwitz V (eds.) Advances in Consumer
Research
34. Duluth, MN: Association for Consumer Research: 424-426.
<http://www.acrwebsite.org/volumes/v34/acr_v34_139.pdf>
Pickering M and Keightley E (2006) The Modalities of Nostalgia. Current
Sociology 54(6), 919-941.
Tinker C (2012) Age tendre et têtes de bois: Nostalgia, Television and
Popular
Music in Contemporary France. French Cultural Studies 23(3), (forthcoming
August).
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