[ecrea] ¡Que Viva la Musica Popular! - IASPM 2007, Mexico City - CFP Reminder (Deadline: November 1st )

>A reminder that the deadline for abstracts for the next IASPM
>conference, to be held in Mexico City in June 2007, is November 1st.
>
>The CFP is below and can also be found on the organisation's website:
>http://www.iaspm.net.
>
>You should send your abstract to both the (pop2007 /at/ iaspm.net) address
>and the stream coordinator.  Please note the instructions on how to
>format your abstract.
>
>Feel free to forward this to all those you think might be interested.
>
>All the best,
>Geoff
>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).
>

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Carpentier Nico (Phd)
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