[ecrea] CFP Deadline Approaching: Listening Again to Popular Music as History

A reminder to those who have expressed interest and intend to respond 
and to those who have missed this CFP that the deadline is 30 September.

*
*
*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 toqua 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

Histories, sounds and identities

The function of popular music as historical referent

Understanding theas 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 onthe 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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