[ecrea] Call for Papers: Listening Again to Popular Music as History

*Call for Papers*

**

*Listening Again to Popular Music as History*


Editors: Nicholas Gebhardt and Paul Long

Birmingham Centre for Media and Cultural Research

Birmingham City University


Submissions are invited for a special edition of /Popular Music History 
/that aims to listen again to popular music as historical source and to 
(re) consider the relationship of popular music and historical method.


*/Rationale/*


Jeffrey H. Jackson and Stanley C. Pelkey open their collection, /Music 
and History/ (subtitle /‘Bridging the Disciplines/’, 2005) by asking: 
‘Why haven’t historians and musicologists been talking to one another?’ 
 They suggest that at the heart of this absence is a problem of 
communication, concerning the distinct methods, knowledge and skills 
employed in both disciplines: does one need to be able to read, play or 
even ‘appreciate’ music for instance in order to make sense of it 
historically? On the other hand, do musicologists need an understanding 
of historiography to write histories of music? The issue for scholars in 
both disciplines is the status of the musical object: how to account for 
music /as/ music, without losing a sense of its historical specificity.

The purpose of this special edition is to explore the range of practices 
concerned with history, heritage and memory in music cultures. We seek 
to understand what kind of ideas about the past they express and how 
they might expand our understanding of popular music as source for 
historical understanding – about the music and its relation to the wider 
cultural and social world. In particular, we are interested in placing 
music /qua/ music at the centre of our investigation, exploring the 
manner in which musical sounds – and the forms by which they come to us 
- might be understood as historical sources.

We are interested in papers that address (but are not limited to) the 
following themes:


Popular music as historical source

Time, duration and popular music

The materiality of popular music sounds and artefacts

/Mentalités/ of modernity and popular music

Retrieving historical acts of hearing and listening/historicizing 
hearing and listening

The function of popular music as historical referent

Understanding the historical moment(s) of popular music /as/ music

Beyond popular music as soundtrack

Archival sound

Writing histories with music, recordings and performance.

Locating music in /other/ historiographies


We are particularly interested in submissions that reflect on 
historiographical questions in response to the themes set out above and 
welcome engagement from specialists outside of the field of popular 
music scholarship.


*/Submission Process/*


In the first instance prospective contributors should send to the 
editors abstracts of 700 words with an indicative bibliography by 30 
September 2018.


Prospective contributors will be invited to participate in an _online 
symposium_ to discuss the themes of the special edition that will take 
place in November 2018.


The deadline for a _first draft_ of full submissions is 1 July 2019.


Submissions will be reviewed by the editors of the special edition and 
subject to the regular journal process of peer review.


_Feedback _on submissions will be distributed in November 2019 with 
reviews completed and approved _final submission_ in March 2020.


Publication of the special edition will be in _May 2020_.

Submissions and enquiries should be directed to both editors: 
(paul.long /at/ bcu.ac.uk) 
<mailto:(paul.long /at/ bcu.ac.uk)>(Nicholas.Gebhardt /at/ bcu.ac.uk) 
<mailto:(Nicholas.Gebhardt /at/ bcu.ac.uk)>



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