Call for papers
Shifting Sounds: Musical Flow
IASPM-ANZ 2012 Conference
University of Tasmania, Hobart
5-7 December 2012

We are delighted to announce the call for papers for the 2012 annual conference of IASPM-ANZ. This year, the conference will be organized by Dr Michelle Phillipov, and held at the University of Tasmania. We are pleased to stage our annual event in Hobart in keeping with the rotating conference schedule of Australia and New Zealand locations.

Abstracts for paper presentations are now invited from researchers with an interest in popular music, regardless of disciplinary orientation. All papers detailing new and established research in the field will be considered, though preference may be given to papers that demonstrate clear engagement with the stated conference theme. Papers with a theoretical orientation are particularly encouraged, as are submissions from postgraduate students.

Conference Title
The concept of ‘flow’ is essential for understanding the fluidity, flux and diffusion of contemporary media and culture. Flow reveals the complexities of contemporary cultural production, consumption and participation. It also illuminates the ways in which ideas, information, culture and technology are exchanged and imbued with meaning and power.

The concept of flow has been influential in the work of Appadurai (1990) and Castells (1996), and in more recent writing on media and convergence cultures. Questions of musical flow, however, remain an under-explored area. This conference invites papers that consider the role of music in the facilitation and disruption of media and cultural flow. In doing so, it considers music as something that moves between, and within, different spaces, places, texts, communities and technologies.

In particular, we seek papers addressing:

1. the flow of popular music within and across different digital and textual platforms, including film, television, journalism, and social media;

2. the flow of popular music between different cultures and cultural formations, such as the local, national, transnational and global;

3. the flow/s of popular music studies, its history and current practices within the academy, as well as its disciplinary, theoretical and methodological futures;

4. the flow of popular music studies outside of the academy, in policy, journalism, and popular understandings of ‘music’;

5. the construction and disruption of musical flow, in musical composition, performance and other artistic arenas.

We also welcome abstracts considering any other area of popular music.

Abstract Submission
Abstracts should be submitted as an email attachment (Word document, 12pt Times New Roman font) to abstracts@iaspm.org.au, by 28 May 2012. Please use your surname as the document title, as in Brunt.docx. Delegates requiring an extension of this deadline should indicate this in an email to the above address. The abstracts will be reviewed by the Conference Organising Committee, and successful applicants advised promptly by email.

Please include in this order:

· Name of author(s) (as you would like it to appear in the programme)
· Institution or affiliation
· Contact phone numbers, including international codes
· Email
· Title of paper
· Abstract (250-300 words)
· The theme number(s), as described above, which align with your paper
· 5 keywords for your paper (for programming purposes)
· Consideration for 2012 IASPM-ANZ postgraduate prize? (Yes/No)
*NOTE: Past winners are ineligible for future prizes.

Registration and Membership
Information on registration, accommodation and additional activities will be posted on the IASPM-ANZ website following the abstract review process. All presenters are required to be financial members of IASPM. Membership information can be found at the IASPM-ANZ webpage: www.iaspm.org.au, and will also be provided at the time of conference registration. For further membership information, please contact IASPM-ANZ Treasurer Penny Spirou: treasurer@iaspm.org.au.

Conference Proceedings
IASPM-ANZ endeavours to publish a peer-reviewed proceedings for each annual conference. This year, we encourage the submission of papers that are in keeping with the theme, with the view to have a cohesive collection. All papers will undergo rigorous review in order to produce a quality publication. Submissions must follow the stylistic conventions for Harvard, and observe a maximum 4,000-word limit (including List of References).

More information about the submission process will be provided in due course.

Postgraduate Prize
Each year, IASPM-ANZ awards one postgraduate presenter with the IASPM-ANZ Postgraduate Prize for the best paper. The $250 AUD prize is determined by a panel of established IASPM members. Please indicate your interest in applying when you submit your abstract.

Eligibility: To be considered for this prize, you must be currently enrolled as a postgraduate student, and be a financial member. Past winners are ineligible for future prizes.

Contact
For queries regarding the conference please contact the conference convener in the first instance, or the IASPM-ANZ Chair:

Convener, Dr Michelle Phillipov
University of Tasmania
michelle.phillipov@utas.edu.au

IASPM-ANZ Chair, Dr Shelley Brunt
RMIT University
shelley.brunt@rmit.edu.au

The University of Melbourne, Australia

Western Music and entertainment have drawn on features of Spanish music and dance since at least the Napoleonic wars. In turn, constructions of musical exoticism based on Hispanic tropes have informed different manifestations of Spanish musical nationalism, as well as regional and popular musics of Spain. These “Spanish” musical identities have evolved and been reconfigured according to the dictates of competing cultural, political and social factors, yet Spain’s unique position and its enactment of cultural identity cannot easily be reconciled within current narratives of musical nationalism and exoticism.

Papers are invited that examine Spanish musical identity, engage with Western evocations of Spanish music, or explore such repertories in relation to constructions of nationalism and exoticism since 1800.

Papers may address repertories or issues relating to one of the following areas (or others related to the conference theme):

• Western art music
• Dance and theatrical spectacle
• National and regional musics
• Popular musics
• Flamenco
• Music and film

Please submit an abstract of not more than 250 words, with a brief biographical note,

to Michael Christoforidis, by emailing  mchri@unimelb.edu.au

by Monday 30 April 2012

Paper-givers will be notified by mid-May, but if you need earlier notification, please indicate this in your submission.

There will be a publication of refereed proceedings.

Accommodation (2 nights) will be provided for international presenters.

This special edition of Dancecult seeks to address the fact that, although many EDM (Electronic Dance Music) projects have a significant ethnographic component, there are few methodological resources available to ethnographers of EDM scenes/cultures.

There is presently a near-total lack of pedagogical materials on nightlife or EDM-specific fieldwork, and even descriptive or critical writing that takes such fieldwork as a central theme is scant and fragmented. While some EDMC ethnographers describe and discuss their own fieldwork approach in the appendices and introductory chapters of their doctoral dissertations (and, less frequently, their monographs), these ruminations rarely come into critical dialogue with other EDMC ethnographers and thus do not actively engage in the development of a body of ethnographic methods in EDMC studies.

Certainly, there is no agreed-upon body of “best practices” or even “first principles” in the field of EDMC ethnography, in contrast to larger and older ethnographic disciplines, such as anthropology, sociology, folklore, oral history, etc. While one may rightly ask whether a unified pedagogy of ethnographic methods is desirable in such a diverse field, there are nonetheless several practical, ethical and legal considerations particular to EDMC-fieldwork that the young ethnographer should not have to face alone. These include such issues as:

- Exposing/endangering the identities of participants in scenes that often involve transgressive activities (e.g. drug consumption, sex, sartorial exuberance, genderfuck)
- Establishing trust in communities that are wary of researchers and journalists
- Addressing the ethnographic directive for gathering archival “evidence” (video, images, audio) while respecting local norms of privacy and cultural ownership
- Preventing one’s fieldwork activities from interfering with participants’ engagement with/enjoyment of music events
- Dealing with the practical limitations of fieldwork at EDM events (music, noise, lighting, etc.)
- Cultivating fieldwork contacts in a cultural milieu that has little to gain from collaborating with scholars (and, in some more privileged urban scenes, the complexities of “studying up”)
- Managing the financial costs of participant-observation in the “leisure/entertainment industry”
- Managing the physical impact of the primarily nocturnal rhythms of EDM scenes, especially for researchers maintaining an academic “day job” as an educator or administrator

Thus, this special edition of Dancecult seeks contributions from ethnographers of EDM—whatever their disciplinary background—to address this lacuna through elaboration, analysis, and dialogue.

// SUGGESTED THEMES //

The editor encourages that contributions be grounded in the author’s own fieldwork experiences and focused on a particularly relevant theme, rather than on fieldwork in general. Such themes might include (but are not limited to):

- gender and sexuality (of the researcher, of scene participants, of the community)
- race and ethnicity
- embodiment and dis/ability
- privacy and publicity
- money, capital, research budgets, fieldwork in consumer cultures
- professionalism and the view of the academe on doing “fun” research
- intoxication, illicit activities, and the notion of “risk”
- legal issues, law enforcement
- urban settings, rural settings, outdoor events
- tourism, resorts
- festivals and other large and/or regular events
- researching public funding, sponsorship, and private investment in EDM events
- working with promoters, club managers, organizers, etc. (especially in a competitive or secretive environment)

// SUBMISSIONS //

Feature Articles:

Feature Articles will be peer-reviewed and are 6000–9000 words in length (including endnotes, captions and bibliography).

For policies, see: http://dj.dancecult.net/index.php/journal/about/editorialPolicies#sectionPolicies

“From the Floor” Articles:

This special edition will also feature a special version of the From the Floor format: “Tales from the Field.” Submissions for this shorter format (750–2500 words) should relate one (illuminating / thought-provoking / exemplary / problematic / surprising) vignette from one’s own fieldwork, followed by brief and exploratory comments. This format will be of particular interest to scholars who wish to share some of the insights of their fieldwork, but are unable to devote the time necessary for a feature-length and argument-driven article.

See guidelines at the Section Policies link above.

Articles must adhere to all style and formatting rules stipulated in the Dancecult Style Guide (DSG). Download it here: http://dj.dancecult.net/index.php/journal/about/editorialPolicies#custom1

Multimedia Submissions:

Dancecult encourages authors to complement their written work with audio and visual material. See the DSG for style and formatting requirements.

Language:

Although the language of publication in Dancecult is English, the editor strongly encourages submissions from non-Anglophone scholars and will be happy to provide linguistic/stylistic support during the writing process.

// DATES AND DEADLINES //

This special edition is proposed for publication in Dancecult in April/May 2013.

If interested, send a 250 word abstract (along with brief author bio) to Luis-Manuel Garcia (theluisgarcia@gmail.com) by **APRIL 30th, 2012.**

If your abstract is accepted, the deadline for full article submission is November 1st, 2012. Beyond that, the deadline for online submission to Dancecult (for peer review) is February 1st, 2013.

Please send inquiries and expressions of interest to Luis-Manuel Garcia: theluisgarcia@gmail.com

Introduction: New Perspectives on Popular Music in Asia, Shelley Brunt

Ideology and the performance of Chineseness: Hong Kong singers on the CCTV stage, Lauren Gorfinkel

God Bless come back: new experiments with nostalgia in Indonesian rock, Emma Baulch

The success of hopelessness: the evolution of Korean indie music, Hyunjoon Shin

Soundscapes in Vedic metal: a perspective from Singapore, Eugene Dairianathan

The call for papers for the Wellington proceedings is now available to download. We warmly invite you to send your papers for consideration.

You’ll note the deadline is Friday February 3, however you’re welcome to submit material before then if you want to get it off your desk while it’s still fresh from the conference. Also, if you are interested in being a referee please let us know (of course we will keep this process ‘blind’, but we welcome expressions of interest for those happy to join the referee pool).

Nashville hosts the highest concentration of music businesses of any U.S city, with more than 200 recording studios, 130 music publishers, 100 live music venues, and 80 record labels. The initiative will allow a songwriter the chance to immerse themselves in the Nashville music scene and to further develop their own artistic skills and industry networks and relationships.

“The Australia Council is really excited about the possibilities that this residency opens up,” says Matthew Hindson, Chair of the Australia Council Music Board. “Nashville is a hub for songwriting and Australians have a long and impressive history of writing great songs.”

The residency is the result of a partnership between the Australia Council’s Music Board and Nashville-based songwriter and producer Mark Moffatt. Mark Moffatt is a songwriter, producer, and resident of Nashville since 1996. As Director of A&R at Ten Ten until 2001 he worked extensively in the development of Keith Urban. His production credits include Keith Urban, the Saints, Yothu Yindi, the Divinyls, Neil and Tim Finn, Slim Dusty, Tony Joe White, and many others. Mark will work with the successful songwriter to establish a base of knowledge, relationships and business contacts within the Nashville music scene.

Applications for the residency will close 12 March 2012. More details about the Nashville Songwriter Residency are available here, or contact Australia Council staff member Andy Rantzen – a.rantzen@australiacouncil.gov.au or 02 9215 9115 .

Deadline for abstracts and panels: March 5th 2012 (individual papers: 500words, +50 word bio; and for 3x person panels: panel title, lead/contact person; 3x 500 word abstracts, plus 3x individual 50 word biographies)

Successful abstracts notified by: 6th April

Enquiries/abstracts to: celebritystudies@gmail.com

Conference Website: www.deakin.edu.au/arts-ed/scca/events/celebrity

Sponsored by the Centre for Memory, Imagination and Invention, Deakin University

Routledge and Deakin University are pleased to announce the inaugural Celebrity Studies Conference. The conference, organised by Sean Redmond and James Bennett, will be the first major international, inter-disciplinary forum for discussion and analysis of the growing field of celebrity studies. Drawing on the strength of the CSJ editorial team, the conference welcomes submissions from a broad range of disciplines that generate new ways of thinking and understanding celebrity: from film, television, digital media and theatre studies through to sociology, politics and business studies.

The first inaugural Celebrity Studies Conference will be themed on the question of ‘celebrity studies now’. This subject will run through our plenaries and form a strand running throughout the conference. However, we invite abstracts for individual 20 minute papers or pre-constituted panels of 3 x 20minute papers on any topic in celebrity studies.

Confirmed keynote speakers:
· Richard Dyer (Kings College, University of London)
· Christine Holmlund (President SCMS, University of Tennessee, Knoxville)
· P. David Marshall (Deakin University)
· Susan Murray (New York University)
· Graeme Turner (University of Queensland)

A special issue of the best papers from the conference will be published in Celebrity Studies in 2013.

Introduction: Asian modernities, musical traditions and strategies of engagement, Adrian McNeil

‘Sounding Japan’: traditional musical instruments, cultural nationalism and educational reform, Henry Johnson

Malaysian composers, geopolitical spaces and cultural difference, Jonas Ureta Baes

Negotiation and hybridity in new Balinese music: Sanggar Bona Alit, a case study, Manolete Mora

Kon baan diaokan or ‘we’re from the same village’ – star/fan interaction in Thai lukthung, James Mitchell

Reviews: Revisionist Popular Music History, Roy Shuker

Portal Vol 8, No 1 (2011): Terpsichorean Architecture: Writing About Music