Author Topic: CFP  (Read 5856 times)

Ardamus

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Re: CFP
« Reply #15 on: September 18, 2013, 01:27:00 pm »
Ah so you get the tenure then the groupies and then the money. Am I right?

Justin Tonation

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Re: CFP
« Reply #16 on: September 18, 2013, 09:35:26 pm »
Ah so you get the tenure then the groupies and then the money. Am I right?

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Ardamus

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Re: CFP
« Reply #17 on: September 19, 2013, 01:01:54 am »
well, he's not gonna mention the loads of cash and groupies. gotta keep a low pro about it.

Justin Tonation

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Re: CFP
« Reply #18 on: September 19, 2013, 09:53:57 am »
Touring with Bjork probably bought a few gadgets.
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Ardamus

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Re: CFP
« Reply #19 on: September 19, 2013, 08:25:26 pm »
A tour with Bjork? I'd be down for that. Most of these essays are more so geared for rock it seems. Or did I skim through it and not read them right.

Justin Tonation

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Re: CFP
« Reply #20 on: September 19, 2013, 11:08:32 pm »
I was being willfully obtuse. Dr. Daniel is half of Matmos. They've got lots of fans but not enough to quit their day jobs. They've toured with Bjork as members of her band and I imagine that paid fairly well.
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Ardamus

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Re: CFP
« Reply #21 on: September 20, 2013, 03:25:45 pm »
ah i see. good to know they have open submissions like this.

kosmo vinyl

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Re: CFP
« Reply #22 on: October 07, 2013, 07:19:54 am »
http://www.english.cam.ac.uk/research/contemporary/?p=760

Here by the sea and sand: A symposium on Quadrophenia CALL FOR PAPERS

Keynote Speaker: James Wood (Harvard University, The New Yorker)

 ?I don?t want to be the same as everyone else. That?s why I?m a mod, see??

Released 40 years ago in 1973, The Who?s ambitious concept album Quadrophenia portrays the 1964 August bank holiday battle between mods and rockers on Brighton beach from the perspective of the young disillusioned pill-popping mod protagonist, Jimmy. Franc Roddam?s iconic film of the album was made in 1979, and in the past year the Who has toured playing the entire album. Quadrophenia, the album, was a comparative failure when released, but has since been recognised by many critics as their masterpiece. Quadrophenia is a complex and multilayered work, combining some of the Who?s most arresting music with a variety of other art forms (Townshend?s story in the liner notes, Ethan Russell?s compelling book of photographs). It is embedded in two sites, London and Brighton, as well as in many more personal and political histories.

The Centre for Modernist Studies at Sussex has decided to live up to its name by holding a one-day symposium on the album and film. Quadrophenia fans, please consider joining us.

Possible topics include but are not limited to: the representation of Mods; Mod revival(s) and nostalgia; Englishness; class; violence; crowds; work; adolescence; masculinity; the relationship between the film and the album; the concept/double album; the accompanying book of photographs and Townshend?s text; influences; legacies; Quadrophenia as rock opera; Quadrophenia in the Who?s oeuvre; the self-conscious representation of the Who?s history; the performance of it in the current moment; pills; punks; godfathers; sea; sand; rain; bellboys.

Paper proposals that mix personal with critical, historical, musicological, or cultural-studies analyses are welcome.

Please send short (300-500 word) proposals for 15-20 minute papers and a short bio of yourself to Pam Thurschwell, by 1 December 2013.
T.Rex

Ardamus

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Re: CFP
« Reply #23 on: October 11, 2013, 04:45:52 pm »
How do you go about finding these? I know you'll say google them but I would like to see some that pertain to hip hop and urban music. Interesting guidelines for these papers though.

Justin Tonation

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Re: CFP
« Reply #24 on: October 11, 2013, 11:59:27 pm »
How do you go about finding these? I know you'll say google them but I would like to see some that pertain to hip hop and urban music. Interesting guidelines for these papers though.

When I had higher career aspirations, I subscribed to a couple of American Musicological Society's listservs. One of them is announcements of jobs and conferences and related matters. Most of the CFPs are, as you might expect, somewhat less interesting, e.g. "Approaches to Analysis and Interpretation, Univ. of Cincinnati, Mar 2014" and "Society for Musicology in Ireland, University College Dublin, June 2014". There was another listserv for popular music but it's pretty much dead.
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Justin Tonation

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Re: CFP
« Reply #25 on: October 18, 2014, 02:47:33 pm »
Call for Papers
The Electric Guitar in Popular Culture
Friday March 27 and Saturday March 28, 2015
Bowling Green State University
Bowling Green, Ohio, USA

The Electric Guitar in Popular Culture aims to examine the roles of the electric guitar in cultures throughout the world. It is intended to serve as a space for academics, professionals, hobbyists and fans to engage in dialogue about topics related to the electric guitar and its cultural influence. We seek to explore the answers to many questions, including but not limited to:

  How has the electric guitar altered music and the lives of musicians throughout its history?
  How has the electric guitar impacted local music scenes in northwest Ohio and those throughout the world?
  Have changing representations of the guitar in popular culture impacted aspiring musicians?
  How have advances in technology impacted the production of electric guitars for both producers and consumers?
  How have various cultures and perspectives surrounding the electric guitar shifted over time?
 Possible individual themes that may be addressed include, but are not limited to:

  Representations in Popular Culture
  Globalization of the Electric Guitar
  Current Trends & Artists
  Ohio Guitar Shows
  Guitar Collecting
  Album Artwork
  Guitar Magazines & Publications
  Guitar Manufacturing
  The Guitar and Education
  Race/Ethnicity and the Electric Guitar
  Gender/Sexuality and the Guitar
  Fender vs. Gibson
  Guitar As Icon
  The Guitar in Video Games and Toys
  Music Genres & Associated Artists Related to the Electric Guitar

We welcome individual proposals or pre-formed panels that address any or all of these questions and themes. As the conference seeks to provide a multitude of perspectives, academic presentations and those from outside the academy are welcome.

Please send a 300 word abstract describing your individual presentation to electricguitar2015 at gmail.com with ?The Electric Guitar in Popular Culture? in the subject line. (Panel, roundtable, performance, and artistic display proposals should include a 300 proposal for each individual and a 500 word proposal explaining the group presentation.) Submissions should be sent in a document attachment with the following information:

Author?s name/Title
Institutional Affiliation (if applicable)
Email address
Presentation Title and Abstract

Deadline for Submissions is Sunday, December 21, 2014.
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Justin Tonation

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Re: CFP
« Reply #26 on: October 18, 2014, 02:50:38 pm »
CFP: Embracing the Margins: Counter-Mainstream Sensibilities in Popular Music
University of North Carolina?Chapel Hill, March 27?28, 2015
Sponsored by the UNC Music Department and the AMS Popular Music Study Group

Keynote Speakers: Theo Cateforis (Syracuse) and Robin James (UNC?Charlotte)

Organizing Committee: David Blake (Stony Brook), Joshua Busman (UNC?Chapel Hill), Brian Jones (UNC?Chapel Hill), and Mark Katz (UNC?Chapel Hill)

What does it mean for musicians and fans to identify their own genre of popular music as marginal? What kind of cultural and aesthetic work is accomplished in this act? This type of stance has informed the politics and aesthetics of countless genres?from the more obvious manifestations of punk, indie, and experimental music to less-often affiliated traditions such as country, metal, jazz, blues, hip-hop, world music, R&B, folk, and electronic dance music. A sensibility of self-identified marginality can contribute to deeply ingrained notions of legitimacy, whether regarding musical style, social identification, spiritual conviction, or aesthetic values. Too often, however, studies of marginal musical identity have remained isolated within their respective genres or limited to the politics of social resistance.

This symposium, then, will make space for a cross-genre, comparative conversation. We invite studies from diverse popular music traditions in order to facilitate mutual dialogue and analytical perspective. What commonalities and differences can be observed among counter-mainstream genres? What conclusions can be made regarding the slippery connections between marginal identity and musical style? And what role do the actualities of social, political, and economic marginalization and dominance play in these musical practices? In bringing together a diversity of popular music research, this symposium will work to de-essentialize some of the dogma surrounding musical marginality and distinction, connecting theoretical approaches and destabilizing tacit assumptions of class, race, gender, religion, and politics. Rather than discussing whether a group or genre functions as marginal, we seek to explore how a stance of marginality can inform musical performances, recordings, discourses, a
nd reception.

We invite submissions of 250-word abstracts sent via email to embracingthemargins at gmail dot com. The submission deadline is Wednesday, November 19. We anticipate notifying successful submissions by Friday, December 5.
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Justin Tonation

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Re: CFP
« Reply #27 on: September 28, 2017, 04:16:26 pm »
Haven't posted one of these in a few years. Here's a good one:

Prince from Minneapolis: A Symposium at the University of Minnesota

Deadline: October 20th, 2017

Conference Dates: April 16-18, 2018

Conference venue: University of Minnesota, Minneapolis
Website: www.princefrommpls.org


​This symposium will investigate Prince’s unique relation to Minneapolis and Minnesota.

What demographic, cultural, and economic conditions were in place for Prince to emerge as a musical genius? How was a new sound born from a small African American population in a very white and segregated state? Why did Prince stay there? How did he reinvent the aesthetics and politics of blackness? How did he at the same time win over white and international audiences? How did Minnesotans, both queer and straight, react to Prince’s ambivalent black male sexuality? How is Minneapolis represented in Purple Rain? How do we interpret his spiritual explorations? What kind of utopia did Paisley Park embody? What was Prince’s mode of operation in the studio? How did the Minneapolis sound affect hiphop, jazz, rock, and electronic dance music? Why do music tourists flock to this city from Europe and Australia?

In collaboration with the symposium, the University of Minnesota’s Weisman Art Museum is organizing an exhibition organizing an exhibition, “Prince from Minneapolis”, celebrating Prince’s local legacy, from December through June. Immediately after the symposium Paisley Park is hosting “Celebration 2018” and there will be other commemorations in the Twin Cities.

Possible Topics Include:

• music industry and technology
• musicology and music history
• name change and legal battles
• visual arts
• style, fashion, design
• protest, freedom, revolution
• segregation and migration
• blackness and hybridity
• gender, sexuality, family, love
• apocalypse and messianism
• vegan, environmental, health ethics
• afterlife and remembrance
• Minneapolis and the world

   


Send paper title, abstract (300 words), and short bio (200 words) to PrinceFromMPLS -at- gmail.com by October 20, 2017​.
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