[ecrea] CFP - Volume! - "Popular Music & Nostalgia"

Call for papers: Nostalgias

A special issue of Volume! The French Journal of Popular Music Studies

Edited by Hugh Dauncey (Newcastle University) & Christopher Tinker 
(Heriot-Watt University)

Online: http://volume.revues.org/2914
Version française ici : http://volume.revues.org/2912

Volume!, the French peer-reviewed journal dedicated to the 
interdisciplinary study of popular music – seeks contributions for a 
special issue on nostalgia and popular music in a variety of national, 
international and transnational contexts.

This issue will explore the ways in which popular-music-related 
nostalgia is produced, represented, mediatised and consumed. Morris B. 
Holbrook and Robert M. Schindler define nostalgia as "A preference 
(general liking, positive attitude or favourable effect) towards 
experiences associated with objects (people, places or things) that were 
more common (popular, fashionable or widely circulated) when one was 
younger (in early adulthood, in adolescence, in childhood or even before 
birth)" (2006: 108).

Nostalgia is a perennial feature of the popular-music field, and has 
assumed during recent years an increasing prominence within many 
national contexts. This issue represents an opportunity to contribute 
towards defining the field of popular-music-related nostalgia, engage 
with and build on existing studies in disciplines as diverse as popular 
music studies, cultural studies, psychological studies and 
consumer/marketing research, and situate nostalgia in relation to other 
associated phenomena such as memory, commemoration and retro.

A key aim of this issue is to explore how nostalgia contributes to the 
development and status of particular popular music forms and genres. 
Barbara Lebrun’s study of French chanson néo-réaliste, which rose to 
prominence during the 1990s (e.g. Pigalle, Les Négresses Vertes, and Les 
Têtes Raides), indeed highlights the ‘incohérences’ and ‘contradictions’ 
of the genre, which is ‘réactionnaire et rebelle, vieux-jeu et moderne, 
élitiste et collectif’ (‘reactionary and rebellious, old-school and 
modern, elitist and collective’) and combines nostalgia, conservatism, 
protest and distinction/cultural exclusivity (2009: 59-60).

The role of popular music nostalgia in identity formation is a further 
concern. As Tia DeNora observes, ‘Music can be used as a device for the 
reflexive process of remembering/constructing who one is, a technology 
for spinning the apparently continuous tale of who one is’ and as ‘a 
device for the generation of future identity and action structures, a 
mediator of future existence’ (2000: 63). Andy Bennett focuses on ‘how 
the increasing dominance of the retro market in contemporary popular 
culture is enabling respective postwar generations effectively to relive 
their youth and to engage in nostalgic representations of what it means 
to be young’ and ‘how such nostalgic perceptions impact on perceptions 
of contemporary youth and questions the validity of terms such as 
“Generation X”’ (2001: 153).

Media/internet coverage of popular music nostalgia is particularly 
extensive in many national contexts. Chris Tinker (2012) has, for 
example, examined the significance of popular music nostalgia on French 
television, particularly following the launch of the successful Âge 
tendre et têtes de bois (‘Young and Headstrong’, David Looseley’s 
translation) series of concert tours and holiday cruises. Such coverage 
has several functions: to represent the past more positively than the 
present (‘simple nostalgia’), emphasise joy rather than the 
‘bittersweetness’ (Hirsch 1992; Baker & Kennedy 1994; Madrigal & 
Boerstler, 2007...) often associated with nostalgia, represent a fantasy 
return to youth, and promote social and cross-generational cohesion. 
Coverage also supports popular music nostalgia as a commercial force but 
problematises its status within the wider musical and cultural field.

Of particular importance are the ways in which popular music nostalgia 
is experienced by listeners and consumers. Holbrook and Schindler 
describe, for example, how, ‘via a process called nostalgic bonding, a 
consumer’s history of personal interaction with a product during a 
critical period of preference formation that occurs roughly in the 
vicinity of age 20 (give or take a few years in either direction) can 
create a lifelong preference for that object’ (2006: 109). Cases include 
informants who ‘experienced strong nostalgic bonding with musical 
recordings’ (119), a young DJ who ‘describes his endless hours spent 
with a particular mixing device’ (119) and a bass fiddle/double bass 
player in New York who ‘focuses on a Metropolitan Transit Authority 
(MTA) button given to street musicians who perform in the subway’ (120).

A further – more institutional – dimension of the imbrication of 
nostalgia and popular music is the way in which public policy has 
gradually developed definitions of heritage which extend to cover fields 
of popular cultural practice and forms, specifically allowing popular 
music artists, genres and works to be included not only in 
private/commercial ‘Halls of Fame’, but also to figure in official 
institutions supported by cultural policy. In the UK, the National 
Centre for Popular Music was a short-lived example of this trend but in 
other established museums, popular music is increasingly ‘remembered’ 
either through special collections, or simply made more visible through 
curatorial devices such as the V&A museum’s ‘subject hub’ for Pop and 
Rock music. In France, the Cité de la musique has established a 
successful intermingling of celebration, education and nostalgia through 
temporary exhibitions devoted to popmusic artists and genres. Nostalgia 
is a component in the transformation of popular music into heritage.

Other, more general, lines of enquiry include the following:
·      nostalgia for specific decades, periods, movements, fashions
·      nostalgia and popular music canons
·      nostalgia and the past, present and future
·      nostalgia and the formation of individual and collective 
identities/social cohesion
·      nostalgia and (inter)generation
·      categories of nostalgia: ‘simple nostalgia’, ‘reflexive 
nostalgia’; ‘interpreted nostalgia’ (Davis 1979); ‘restorative 
nostalgia’ and ‘reflective nostalgia’ (Boym 2001); first-hand (‘real’)
·      nostalgia and ‘simulated’ nostalgia (Baker & Kennedy 1994) or 
‘vicarious’ nostalgia (Goulding 2002)...
·      nostalgia and ‘uncertainties of the present’ (Pickering & 
Keightley 2006)
·      nostalgia and disruption (Davis 1979)
·      releases and reissues – music, book and film; cover versions; 
revivals and comebacks
·      nostalgia in mourning – deaths of artists/musicians and other figures
·      nostalgic anniversaries – birth, death and career
·      nostalgia in discourses of popular music and culture
·      nostalgia tourism (Connell & Gibson 2003)
Again, these are meant to be suggestive, not to define boundaries.

Deadlines:

Early abstracts: authors are requested to first send an early 100-200 
word abstract by 30 July 2012.
Deadline for final papers: 1 December 2012

Format:

-       Word 2004 (.doc), 30.000 to 40.000 characters (incl. spaces, 
references etc.) ;
-       Times, 12 pts., double spacing ;
-       Harvard system of referencing (cf. the guidelines here: 
http://volume.revues.org/1655).

Papers must include:

·      a short biography of the author,
·      an abstract (100 to 200 words), if possible translated into French,
·      5 to 10 key words, if possible in French and English (please look 
at our lists of key words to avoid small variates, English here: 
http://volume.revues.org/39 / French here: http://volume.revues.org/38) 
as well as
·      the list of artists (musicians, bands, composers, writers, 
filmmakers etc.) analyzed (not simply mentioned): 
http://volume.revues.org/1635,
·      the musical genres analyzed in the article: 
http://volume.revues.org/900?lang=en,
·      a geographical index: http://volume.revues.org/40?lang=en
·      and a chronological one: http://volume.revues.org/41?lang=en.

All of this must be sent to the following email addresses:
Hugh.dauncey[at]newcastle[dot]ac[dot]uk, C.G.Tinker[at]hw[dot]ac[dot]uk, 
equipe[at]seteun[dot]net

Peer-review process:

They will be reviewed by Volume’s editorial board, before being sent out 
to two or three “blind” peer-reviewers.
Publication is scheduled for October 2013.

References:

Baker SM and Kennedy PF (1994) Death by Nostalgia: A Diagnosis of 
Context-Specific Cases. In: Allen CT and Roedder John D (eds.) Advances 
in Consumer Research 21, Provo, UT: Association for Consumer Research: 
169-174.< http://www.acrwebsite.org/volumes/display.asp?id=7580 >
Bennett A (2001) Cultures of Popular Music. Maidenhead: Open University 
Press.
Boym S (2001) The Future of Nostalgia. New York: Basic Books.
Connell J and Gibson C (2003) Sound Tracks: Popular Music, Identity and 
Place. London and New York: Routledge.
Davis F (1979) Yearning for Yesterday: a Sociology of Nostalgia. New 
York: Free Press.
DeNora T (2000) Music in Everyday life. Cambridge University Press.
Goulding C (2002) An Exploratory Study of Age Related Vicarious 
Nostalgia and Aesthetic Consumption. In: Broniarczyk SM, Nakamoto K 
(eds.) Advances in Consumer Research 29. Valdosta, GA : Association for 
Consumer Research: 542-546. < 
http://www.acrwebsite.org/volumes/display.asp?id=8719 >
Hirsch AR. (1992) Nostalgia: A Neuropsychiatric Understanding. In: 
Sherry, Jr JF and Sternthal B (eds) Advances in Consumer Research 19. 
Provo, UT: Association for Consumer Research: 390-395. 
<http://www.acrwebsite.org/volumes/display.asp?id=7326>
Holbrook MB and Schindler RM (1989) Some exploratory findings on the 
development of musical tastes. Journal of Consumer Research 16, 119–124.
Holbrook MB and Schindler RM (2006) RM Nostalgic bonding: Exploring the 
role of nostalgia in the consumption experience. Journal of Consumer 
Behaviour 3(2), 107-127.
Lebrun B (2009) René, Ginette, Louise et les autres : nostalgie et 
authenticité dans la chanson néo-réaliste. French Politics, Culture and 
Society 27(2), 47-62.
Madrigal R and Boerstler C (2007) Nostalgia Advertisements: A Content 
Analysis. In: Fitzsimons G and Morwitz V (eds.) Advances in Consumer 
Research 34. Duluth, MN: Association for Consumer Research: 424-426. 
<http://www.acrwebsite.org/volumes/v34/acr_v34_139.pdf>
Pickering M and Keightley E (2006) The Modalities of Nostalgia. Current 
Sociology 54(6), 919-941.
Tinker C (2012) Age tendre et têtes de bois: Nostalgia, Television and 
Popular Music in Contemporary France. French Cultural Studies 23(3), 
(forthcoming August).