Dance Music and the Creative City – IASPM Studiemiddag in Groningen op 9 december

Posted on 18/11/2011 by Koos Zwaan

Op 9 december a.s. organiseert IASPM Benelux in samenwerking met de afdeling Kunsten, Cultuur en Media van de Rijksuniversiteit Groningen voor een studiemiddag met als thema ”Dance Music and the Creative City“. Zie voor meer informatie onderstaande uitnodiging.  

Mocht je interesse hebben om op deze middag eigen onderzoek te presenteren, neem dan contact op met Kirstin McGee (kamcgee32@yahoo.com).    

Deelname aan de studiemiddag is gratis, maar wel graag van te voren aanmelden via het aanmeldingsformulier.



IASPM meeting
December 9,  14.00 – 17.00 hrs
University of Groningen

IASPM Benelux and the Faculty of Arts, Culture and Media cordially invites interested parties to participate in a workshop afternoon on the theme of Dance Music and the Creative City. We invite IASPM members to discuss or present work on issues related to the revitalization of dance music events in the post-industrial, creative city. Interested speakers should contact Kristin at kamcgee32@yahoo.com

Some of the themes relevant for this workshop are: 

· The regeneration of dance music cultures including an examination of a greater variety of popular music participants engaging with dance music in the cosmopolitan city. These might include music amateurs, photographers, videographers, event managers, bloggers, dancers, chefs…
· The musicological and aesthetic values guiding mixed-genre dance musics. 
· The role that architectural spaces and the expansion of urban neighborhoods perform in regenerating dance music events in the twenty first century.
· Musical and cultural tourism: such as the impact of party tourists and migrating musicians and arts organizations.
· The concepts of collectivity, flexibility, professionalism and interactivity and how they remain important concepts for understanding the modes of performance, consumption and participation motivating urban dance music events. These concepts are sometimes depicted as post-Fordist phenomena by globalization theorists and might also provide productive theoretical frameworks. · Mediation: including the impact of new kinds of networks from social media to digital editing software as well as the post-event reception of dance events through new and traditional media.   

Drinks and snacks to follow the presentations and discussion.   

Confirmed Speakers:
Dr. Kristin McGee, University of Groningen – Wicked Jazz Sounds: Cosmopolitanisms and Collectivities in Amsterdam’s New Jazz World

Dr. Luis Manuel Garcia, Postdoctoral Fellow at the Freie Universitat in Berlin – Bouncers and Multiculturalism: the Political Stakes of Nightlife in Paris and Berlin

 

Address:
Faculty of Arts, Culture and Media
Oude Boteringstraat 34, Groningen
Room: to be announced later

 

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De evolutie van de dansmuziek in de Westerse wereld

Posted on 09/11/2011 by Pedro
Hoe evolueerde de dansmuziek in onze regio’s gedurende de voorbije decennia?
Klik op de afbeelding en ontdek de interactieve infografiek:


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Europese onderzoekssubsidies geschrapt? Onderteken de petitie!

Posted on 04/11/2011 by Koos Zwaan

De Europese Commissie is van plan om in het volgende Framework programma de mogelijkheden voor onderzoekssubsidies binnen de geesteswetenschap en de sociale wetenschap te schrappen. Als je het hier niet mee eens bent, teken dan de open brief . Graag ook verder verspreiden in je eigen (academische) netwerk.

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Aankondiging internationale IASPM conferentie, Ovieda, Spanje, 24-28 juni 2013

Posted on 04/11/2011 by Koos Zwaan

Dear IASPM members,

Please put in your diaries the dates 24-28 June 2013 to go to Oviedo, Spain for IASPM biennial conference. In the beginning of December you will receive the complete CFP. For now the conference title and abstract:

BRIDGE OVER TROUBLED WATERS: CHALLENGING ORTHODOXIES

17th Biennial IASPM Conference

24-28 June 2013, Oviedo, Spain

Both popular music and the studies in this field have been spaces of tension, but also of encounter, dialogue and exchange. The triple metaphor of water (flow and travel), trouble (stress, power strugle), and bridge (meetings, communication) represent well some of the themes that might be fertile ground for an IASPM conference. Popular music genres are constructed through contact between different cultures, traditions and imagineries, proposing a dialogue between modernity and tradition, between the new and the inherited, between local and cosmopolitan experiences. Popular music studies, since its beginning, has been marked by its interdisciplinary nature, being a meeting place not only between different academic disciplines, but also open to the experiences of musicians, cultural managers, journalists, filmmakers and industry players. The music industry has been a space of crises and reinvention, of business and the pervasive everyday use of music. On one side intellectual property laws are making it difficult to create remixes or mashups, censorship is always floating around music, and on the other sound defines identities and there is nothing more uncomfortable than to hear sounds you don’t like. One of the aims of IASPM is to find ways of learning to deal with difference in our multicultural societies… Music travels with people and crosses not only rivers, but also oceans. Several music genres were born from musical encounters in port cities, although costal towns are not the only urban spaces where popular music is made.  Because of the clash of different types of people related to musical practices in urban spaces, some musics might have more prestige than others, not because of the sound in itself, but because of who is playing or singing, and especially who is using it. Nevertheless, it is in sound that all the “troubles” resonate, echo and get transformed, be it by appropriation, sampling, variation, transformation, cross-overs, etc. Finally, popular music has been the space for the challenge not only of generations, but also of established social structures, be it in the entertainment business (the tension of music “of” the people and music “for” the people is always present), or in the academy. This IASPM  conference proposes to reflect on the power of popular music to challenge orthodoxies, and build bridges between different experiences, perspectives and disciplines.
Best wishes,
 

Martha Tupinambá de Ulhôa

Instituto Villa Lobos – PPGM – UNIRIO

IASPM – Executive Chair (2011-2013)

Senior Research Fellow

King’s College London (mai 2011 – fev 2012)

King’s: +44 (0)20 7848 1384

Mobile: +44 (0)75 4932 6912

http://lattes.cnpq.br/5378800627543781

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Gastpost van Linda Duits: Hét culturele icoon van deze eeuw is alweer 10: de verjaardag van de iPod

Posted on 24/10/2011 by Pedro

Op 23 oktober 2001 (gisteren tien jaar geleden) introduceerde Steve Jobs in een klein zaaltje een apparaatje dat zowel digitale muziek als Apple zelf een ongekende impuls zou geven: de iPod. “The Apple brand is going to be fantastic” zei Steve, en hij had gelijk. Waar nog geen marktleider was, lukte het Apple niet alleen om de markt te veroveren, maar om MP3-spelers synoniem te maken met hun merk. Dat was extra bijzonder, omdat de iPod niet de eerste digitale muziekdrager was en omdat aan het begin de iPod alleen werkte met een Mac. Er konden wel 1000 liedjes op en dat was “huge”. Bekijk de presentatie zelf hier beneden en check vooral hoe knullig alles nog is, niets van het mediaspektakel dat we later zouden zien. De verkoop van iPods daalde volgens Webwereld het afgelopen jaar met 23 procent en hiermee is de toekomst van de speler onzeker geworden. De iPod maakt echter al onmiskenbaar deel uit van de canon van de popcultuur.

Wellicht de belangrijkste verklaring voor het succes is de manier waarop de iPod een hulpmiddel werd in de performance van identiteit. Onze muzieksmaak zegt iets over wie we zijn en met de iPod werd het mogelijk je gehele muziekcollectie bij je te dragen. Daarnaast was de iPod door het opvallende design een stijlicoon. De witte oortjes werden bijvoorbeeld al snel een statussymbool waarmee je je kon onderscheiden van de ‘losers’ met een gewone MP3-speler.

Er is veel wetenschappelijk onderzoek gedaan naar de iPod, vanuit verschillende perspectieven. Zo stelt Michael Bull in een artikel uit 2006 [toegang vereist] dat hoewel mobiel muziek luisteren een geïsoleerde activiteit lijkt, de iPod toch allerlei mogelijkheden biedt voor sociaal gedrag. De iPod kan je immers inpluggen in je auto of thuis, en veel DJs brachten hun iPods mee naar optredens. Hij noemt de iPod het eerste culturele icoon van de 21ste eeuw, “a potent metaphor for much urban life”.

Deze post verscheen eerst op dieponderzoek.nl en werd met toestemming van Linda Duits geplaatst.

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Aankondiging en CFP research workshop Media & Cultural Industries

Posted on 12/10/2011 by Koos Zwaan

ERMeCC Research Workshop with David Hesmondhalgh

Trends and Strategies in the Media and Cultural Industries

Friday 4th November 2011, 12:00-18:00 hrs
Room: TBA
Woudestein Campus, Erasmus University Rotterdam
Directions

Against the background of wider technological, economic, socio-cultural and political developments, the logics of the media and cultural industries have been changing significantly. New digital technologies and distribution platforms (e.g. gaming, the internet, mobile platforms etc.) have resulted in a radically changing environment. For companies, workers and policymakers operating within media industries, these changes have severely impacted their operations: previously separated media markets have converged, new media products and business models have developed, and users are no longer passive consumers but are actively peer producing content (user generated content). Questions that are central to this meeting are: How do media organizations and industries respond to altering international, national and local (business) conditions brought about by these developments? To what extent and in what ways are structures and processes of media production currently being transformed by increasing digitalisation, converging media and shifting ownership structures? How does this affect the nature of journalistic and creative work?

PhD candidates, research master students, as well as advanced researchers in media, communication and culture are invited to attend the meeting and contribute to the discussion.The workshop will be a high density session, featuring Prof. Dr. David Hesmondhalgh (Institute of Communication Studies, University of Leeds) as keynote speaker. There will be ample opportunity for researchers to pitch their research and to discuss, to comment, to network and to be inspired. We think this workshop is particularly relevant for people researching: media production and distribution, creative industries, online creativity (including UGC), media policies, media business, media access and consumption, and related topics.
If you are interested in attending the meeting or would like to pitch your current research in a short (5-10 minutes) presentation, please send an e-mail before 20 October 2011 to:ermecc@eshcc.eur.nl, including the following details:

  • your name
  • job title [PhD student, research master student, postdoc, assistant professor etcetera]
  • affiliation (university and department/graduate programme)
  • contact details
  • title of your current research project
  • 100-150 word abstract of your proposed presentation [only if you want to pitch your research]

Please note that there will be a limit to the number of presentations that can be scheduled; you will receive word shortly after October 20 whether or not you have been selected to give a presentation. For more information please contact Dr. Erik Hitters: hitters@eshcc.eur.nl

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Avond over de Beatles

Posted on 07/10/2011 by Koos Zwaan

Talkshow met muziekclips door Stan Rijven
Zondag 9 oktober 2011
14.00 uur Pathé Tuschinski, Amsterdam

9 oktober  is John Lennon’s geboortedag, die wereldwijd door Beatles fans wordt herdacht. Nog steeds zorgt de invloedrijkste band uit de popgeschiedenis voor nieuws. The Beatles staan wereldwijd weer bovenaan op de muzieklijsten – maar nu bij  iTunes.  Aan de hand van bijzondere archiefbeelden, een quiz en live muziek blikt popkenner (en IASPM-lid) Stan Rijven terug op hun oeuvre. Speciale aandacht is er voor George Harrison die tien jaar geleden overleed.

Speciale gast:
Azing Moltmaker begon als verzamelaar en is nu directeur van het Beatles Museum in Alkmaar. Moltmaker publiceerde de meeste boeken over de Fab Four ter wereld (40!).  

Live Muziek:
Zanger/gitarist Coen Bardelmeijer, van de voormalige coverband ‘Let It Beat’, zingt deze middag een aantal Beatles-klassiekers.

zondag 9 oktober
14.00 uur, Pathé Tuschinski, Amsterdam
Toegangsprijs € 17,50
Reserveren bij Pathé: http://www.pathe.nl/film/17004/clipoog-beatles
of via 0900-1458 (€ 0,55 cpm)

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IASPM Benelux – Nu ook op LinkedIn!!!

Posted on 30/09/2011 by Koos Zwaan

IASPM Benelux heeft een eigen groep geopend op LinkedIn. Dit is een handige manier om in contact te blijven met collega’s in Nederland en Vlaanderen, of ontdek welke andere leden er zijn en wat zij doen/hebben gedaan.

Om je aan te melden bij deze groep, klik hier

Posted in Activiteiten, Algemene ledenvergadering, Discussie, Nieuws, Studenten | Leave a comment

Wereldmuziekfestival Onder de Stuwwal – Za 24 sep

Posted on 22/09/2011 by Koos Zwaan

IASPM-lid Bart Duysens is een van de organisatoren van dit festival, zie onderstaande flyer en document voor meer informatie, of kijk op de website.

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Call for Papers: Journal of Sonic Studies issue 2

Posted on 18/09/2011 by Ilona

The Journal of Sonic Studies (JSS) is a peer-reviewed, online, open access journal providing a platform for theorists and artists who would like to present relevant work regarding auditory cultures, to further our collective understanding of the impact and importance of sound for our cultures.

The second issue of JSS will have its focus on listening and JSS is looking for contributions. According to Italian philosopher Gemma Corradi Fiumara, speech (logocentrism) is valued more than silence and listening in Western culture. Fiumara’s alternative hinges on the possibility of freeing our thinking from this logocentrism by giving back to Western thought the other half of language, namely, the rich openness of listening. Listening can be indispensable in the effort of seeking to establish a relationship between our world and another, polyphonic, world where different voices, with various resonances and intonations, can resound and reverberate.

Although hardly addressed in her book, music, sound art, and acoustic design can contribute a great deal to the human capacity to listen, to listen to subordinated or unheard voices and sounds, to listen differently to everyday sounds, to listen attentively, cautiously, and respectfully. This might even be one of the most significant contributions the sonic arts are able to make to our contemporary cultures.

The editors of JSS welcome both scholarly and artistic research. In both cases, priority is given to those contributions which explicitly use the Internet as a medium, e.g. by inserting A/V materials, hyperlinks, and the use of non-conventional structures. We do expect all contributions to have a firm theoretical grounding.

Possible topics:

· The ear and/versus the eye. Is there a fundamental difference between a visual culture and a culture based on listening?

· The ethics of listening. Listening might be considered ethical in that it provides the other with an opportunity to speak. But listening can also be connected to obedience and disciplining.

· Deafness. What effect does deafness have on the way people relate to the (sonic) world?

· Feeling sound. Listening is not just a mental activity, but one that involves the entire body: the brain when dealing with ultrasounds, the stomach and guts when dealing with heavy bass sounds, and even the skin when dealing with high frequency crackling sounds.

· Listening-in-search and listening-in-readiness. (see Barry Truax’ Acoustic Communication.)

· Attentive listening (focal attention), deep listening, and diffused listening (global attention).

· How and why to listen to everyday sounds?

· Non-human listeners. How does listening affect the lives and behaviors of animals, even animals without (mammalian-like) ears?

· What tools do humans use to extend listening? How do we listen to the galaxy, the miner trapped underground, or the heartbeat of the embryo? If internet is a web, do we listen like cyberspiders?

· Inner hearing. The inner hearing of composers and/or hearing voices/sounds in one’s head.

· Listening in the digital age. Does this require new listening skills?

· Sonification. How do we listen to research data which are less accessible otherwise? Which information is used and which is discarded?

Besides original contributions, the editors are also willing to publish creative reviews or rereadings of books dealing with the topic of listening. (E.g. Jean-Luc Nancy’s A l’écoute, Peter Szendy’s Ecoute: une histoire de nos oreilles, David Levin’s The Listening Self or Pauline Oliveros’ Deep Listening)

Deadline for submission: 15 December 2011

Contributions can be sent by email to one of the editors:

Marcel Cobussen M.A.Cobussen@umail.leidenuniv.nl

Vincent Meelberg v.meelberg@let.ru.nl

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