[Dancecult-l] IASPM conference Mexico City, June 25-29 2007

[Graham St John]

Just thought I'd inform people (and remind 
others) about the forthcoming IASPM 
(International Association for the Study of 
Popular Music) conference in Mexico City in June 
2007. Its a great location and will be cool to 
see fellow EDMC researchers there en masse (ie. a 
Dancecult massive). If submitting an abstract, a 
suggestion for 'keyword': electronic dance music 
culture. Details below.

Graham


http://www.iaspm.net/iaspm2007cfp.html

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 at 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 at 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 at 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 
'classic' 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 'original', or contributions to 
debates about stage virtuosity, including 
understandings of musical skills, training and 
creativity. Discussions can extend to how famous 
musicians 'perform' their celebrity roles in a 
variety of industry and media contexts; or how 
audiences 'perform' subcultures or fandom roles; 
or take on the role of 'performer' themselves.

3. Technology & Industry
Convenor: Martha Tupinambá de Ulhôa <mulhoa1 at 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 at 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 at vuw.ac.nz>

The notion of 'the popular' can be cast in 
multiple ways. The meaning and uses to which 'the 
popular' 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 'the 
popular' (and by inference its so-called 
opposite, 'the unpopular').



-- 
               
--------------------------------------*-----
Graham St John                             
Resident Scholar Program
School of American Research
660 Garcia Street
Santa Fe, New Mexico 87505
W:     +1 505-954-7251
Email g.stjohn at uq.edu.au
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