[ANPPOM-Lista] Fwd: cfp: IASPM 2019 Biennial Conference, Canberra 24-28 June 2019

[Martha Ulhôa]

*Turns and Revolutions in Popular Music Studies*

XX Biennial IASPM Conference
School of Music, The Australian National University
Canberra, Australia, 24–28 June 2019


*Call for Presentations*
As certain songsters and songstresses have noted, seasons turn, turn, turn,
even if you are talking about a revolution. While global warming alters
seasonal cycles with the aid of neoliberal and (pseudo)socialist forms of
capitalism, and waves of societal turmoil follow each other with
varying degrees of authoritarianism in different parts of the world,
popular music studies remains committed to critical enquiry of music of the
masses, the everyday, a variety of subcultures, the megastars, all with
their revolutionary potential. Faced with the increasing worldwide
austerity in the humanities and social sciences, caused by short-sighted
research funding policies that purportedly aim at revolutionary
technological and business innovations, popular music studies also
struggles with its future directions. Whither popular music studies and
where to turn?

Popular music studies in its institutional form is approaching the end of
its youthful years, and IASPM will celebrate its twentieth biennial
conference in Canberra. This provides also an opportunity to turn to the
past and reconsider what may be learned from the twists and shouts of the
previous decades. How have recent affective, neomaterialist, performative,
post-humanist, spatial, transnational and visual turns, among others,
affected popular music studies, and what might the emergent or future
disciplinary turns be? Or to what extent do the turns and
revolutions within popular music studies signal an excessive
neoliberal belief in constant innovation that implies a lack of thorough
investigation of the field’s intellectual history? How are the politics
of higher education changing the field’s history of critical research and
challenging its civic agenda?

To address these issues, as well as any other questions and topics related
to the past, present and future turns and revolutions of popular music
studies, the International Association for the Study of Popular Music
invites proposals for the twentieth biennial conference, to be held at the
School of Music at the Australian National University in Canberra 24–28
June 2019. The general theme of the conference is divided into six
interrelated streams:

a) *Temporal turns and revolutions*. In recent years there has been a
pronounced interest in popular music as cultural heritage. Alongside issues
of heritagisation, this stream accommodates topics relating to nostalgia,
history, historiography and futurology alike, and any other aspect
involving temporal relations within popular music studies.

b) *Spatial turns and revolutions*. As popular music studies is a global
field of enquiry, debates emerge concerning the key geographical loci of
its knowledge production. This stream welcomes discussion on the centrality
of Western conceptualisations of popular music and their challenges,
including the variety of centre–periphery relations,
“locals” versus “newcomers”, migration and displacement. Furthermore, how
are issues of space and place dealt with in the field, including such
liminal circumstances as festivals?

c) *Technological turns and revolutions*. Media studies approaches
constitute a dominant strand of popular music studies, and in addition to
issues of media, mediation, mediatisation, et cetera, this stream invites
topics that address all dimensions of popular music and technology, whether
conceived as practical technical solutions or more abstract logic behind
the use of various tools and techniques. A particularly relevant theme in
this stream is the presence of technological elements in all stages of the
music industry, from production to consumption, and how they blur the
lines between live, recorded and streamed music experiences. Additionally,
how is technology inspiring aesthetic choices, also in terms of
post-digital backlash?

d) *Political turns and revolutions*. Popular music studies, however
defined, is intimately associated with questions of power relations and
hence with politics. In an age of global migration, extremist populism,
global warming and #metoo, the politics of popular music are implicated in
issues of racism, ecological activism and gender and sexual
discrimination in particular. Presentations focussing on identity,
intersectionality, and more generally, inclusivity are especially welcome,
as well as those that address the socio-historical shifts in protest music,
however conceived.

e) *Theoretical turns and revolutions*. How has the inherent
interdisciplinary nature of the field evolved during the last decades? How
have “popular” and “music” been – and continue to be – understood in the
field, and how is their “study” or “analysis” conceived? Furthermore, how
are the theoretical and methodological choices that popular music
scholars make today likely to affect the field’s “health and wellbeing” in
the future? Of particular relevance here are topics that deal with
conceptual curves and conflicts within popular music studies, whether
stemming from feminism, Marxism, postcolonialism, semiotics,
music analysis, or any strand of music theory in its broadest sense.

f) *Affective turns and revolutions*. Issues of feeling, emotion and
pleasure have been central in the study of popular music, in part because
of the importance granted to forms of stardom and fandom. Alongside such
questions, this stream tackles additional aspects of affective attunements
and alliances within popular music and its scholarly investigation.


*Academic Committee*
Pablo Alabarces, Emilia Barna, Sam de Boise, Giacomo Bottà, Diego García
Peinazo, Elsa Grassy, Florian Heesch, Sarah Hill, Fabian Holt, Nadine
Hubbs, Laura Jordán González, Pil Ho Kim, Serge Lacasse, Kristin McGee,
Isabella Pek, Rosa Reitsamer (co-chair), Geoff Stahl (co-chair).


*Local Organising Committee*
Samantha Bennett (chair), Catherine Hoad, Di Hughes, Stephen Loy, Bonnie
McConnell, Pat O’Grady, Georgia Pike, Julie Rickwood, Geoff Stahl,
Catherine Strong, Aleisha Ward, Samuel Whiting, Kirsten Zemke.


*Abstracts*
There will be four options: panels (of 3 or 4 presenters), individual
papers, film/video presentations, or poster sessions.


*Panels*
Proposals of organized panels are strongly recommended (two-hour long
sessions with four papers, or three papers and a discussant). Each session
should leave at least 30 minutes for discussion or for comments by a
discussant immediately following the presentations. The panel organizer
should submit the panel abstract and all individual abstracts (200 words
each) in one document, with a full list of participant names and email
addresses. Where an independently submitted abstract appears to fit a
panel, the Academic Committee may suggest the addition of a panellist.


*Papers*
We invite abstracts of no longer than 200 words, including five keywords
for programming purposes and an optional list of references (max 10).
Individual paper presentations are 20 minutes long to be followed by 10
minutes of discussion.


*Film/video session*
Recently completed films introduced by their author and discussed by
conference participants may be proposed. Submit a 200-word abstract
including titles, subjects, and formats, and indicate the duration of the
proposed films/videos and introduction/discussion.


*Poster session*
A space where presenters can exhibit posters will be provided. A 200-word
abstract by the poster’s author, including five keywords for programming
purposes, must be submitted.


*Submission*
Please email your abstract no later than* 31 July 2018*, as a doc/odt/rtf
attachment to <iaspm19 em anu.edu.au>. Please name the file with your surname
(eg. Ciccone.docx). The following format should be used:

• Name, affiliation and contact email address
• Type of presentation (select one from: panel, individual paper,
film/video, poster)
• Stream (select preferably one but not more than two
from: Temporal/Spatial/Technological/Political/Theoretical/Affective Turns
and Revolutions)
• Title of presentation
• Abstract (200 words maximum; in the case of panels, include a general
abstract followed by individual abstracts, in total 1000 words maximum)
• Five keywords
• Bio (80 words maximum; in case of panels, bios of all participants)

Abstracts will be accepted in English, IASPM’s official language. Papers in
all other languages are allowed, if accompanied by a visual presentation in
English. Letters of acceptance will be sent by 30 September 2018.

Each participant must be a member of IASPM: www.iaspm.net/how-to-join.
Each participant may present only one paper at the Conference, but may also
preside over a panel or serve as a discussant.

The conference organisers look forward to receiving your submissions!

With kindest regards

IASPM Executive Committee:
Julio Mendivil, Chair
Jacopo Conti
Marta García Quiñones
Antti-Ville Kärjä
Kimi Kärki
Sílvia Martínez
Ann Werner