CALL FOR PAPERS

                                                                    
 
Sound Property?

Investigating the Legal Status of Sound Recordings

An Interdisciplinary Conference on Music & Copyright

University of Salford, UK
February, 18-19, 2009

This conference proposes to investigate the current U.S. and U.K.
statutes that regulate the protection of sound recordings. It will investigate to what degree those laws secure  the rights of both the owners and creators of the music contained on these products as well as determine the impact upon those who consume and comment upon this material.

The pending efforts to universalize an extended term of copyright underscores the potential for even more draconian controls upon recorded music. Will the public, creators, and commentators continue to be able to acquire, appreciate and appropriate musical
materials? Can some balance be found between the need for profit and the pursuit of pleasure? Is it possible in a civil society for music effectively to be silenced through constraints over its recorded legacy?

Proposals are solicted that address the current U.S. and U.K statutes; the impact of these laws upon writing and teaching about music; the impact of these laws
upon musical creators and consumers; and the relationship between legal controls over recorded sound and issues of public policy and the needs of a civil society.

Conference papers will be organized into panel sessions of 2 hours, each
comprising three 25-minute presentations with time for discussion. Proposals may be
submitted either for individual papers or for organized panel sessions of three papers and a
chair.

Proposals are welcome and encouraged from a variety of disciplinary perspectives, (including but certainly not limited to law, economics, sociology, music, popular
music studies, history, cultural studies, film and television studies etc.) and from those with professional perspectives related to the subject (performers, producers, composers, lawyers, executives etc.).

Efforts are being made to incorporate responses from the corporate sector in addition to that of commentators, both from the academy and the public arena. Also, final
plans may well include both a concert by musicians whose work depends upon the manipulation of pre-existent recordings as well as showings of films about these issues and those that employ a cinematic re-mixing of visual and acoustic sources.

Featured speakers:
Nicholas Cook, Royal Holloway-University of London
(Muisc: A Very Short Introduction & Director, Centre for the History & Analysis of Recorded Music)

Simon Frith, University of Edinburgh
(Taking Popular Music Seriously; Sound Effects, Editor, Music Copyright)

Charles McGovern, College of William & Mary
(Sold American: Consumption & Citizenship 1890-1940; Only in America: Race, Citizenship & Popular Music, 1930-1997, forthcoming)

Kembrew McLeod, University of Iowa  (Freedom of Expression: Resistance & Repression in the Age of Intellectual Property; Owning Culture: Ownership, Authorship & Intellectual Property)

Proposals of at least 250 and no more than 500 words should be sent to
David Sanjek before

December 17th. Acceptance of papers and a final programme will be
announced in late December.

David Sanjek
Professor of Music
Director, Popular Music Research Centre
University of Salford
Adelphi Building
Peru Street Greater Manchester

M3 6EQ U.K.

d.sanjek -at salford.ac.uk

00 44 161 295 6190

Call for Papers

HEAVY METAL AND GENDER

An international conference, held on Thursday 8th - Saturday 10th October 2009
at the University of Music Cologne / Hochschule für Musik Köln, Germany

Heavy metal is music of men and women. But even though it generally attracts as many female as male fans today, heavy metal often emphasizes sexual differences. According to stereotypes, heavy metal is rather masculine than feminine because of its power, aggressiveness, often even ugliness, and its transgressions of cultural norms. From this perspective the under-representation of female metal musicians seems natural as much as women’s interest in metal is often considered abnormal or even inappropriate. However, research on music and gender has increasingly shown that gender roles and differences are not natural laws but complex results of socialisation, cultural mediation, and discourses which change over time.

A wide range of questions

The 40 years old heavy metal genre offers a wide range of questions about gender constructions in musical culture. Obviously, heavy metal has always been dominated by representations of masculinity. This can be identified for instance in the virtuoso playing style of the electric guitar, which is mostly regarded as a masculine instrument, in macho stage shows, warrior images, or in the almost total exclusion of female musicians in the extreme subgenre of black metal. On the other hand, there is a minority of female musicians in heavy metal, including outstanding examples as Doro and Angela Gossow, and their number increased in the past years. Metal women have developed their own images, partly in strong contrast to their male counterparts and to mainstream female images. Women’s participation in heavy metal has recently become subject of discussions in magazines, internet forums and popular DVD documentations as Sam Dunn’s “Metal: A Headbanger’s Journey”. Further, queer positions evading common heterosexual dichotomies occur in metal, too, for instance in forms of gay metal communities.
The field is wide and the challenge is: How exactly are heavy metal and gender related?

The goal of the conference

The goal of the conference is to discuss issues of heavy metal and gender from an interdisciplinary and international perspective. It aims at examining a broad variety of periods, places and subgenres of heavy metal culture and any of its parts including song structures, lyrics, performance practices, visual representations, positions of musicians and fans, local and global scenes, critical and scholarly discourse.
Heavy metal studies as well as gender studies have improved their fields of research and methodology in recent years. Thus it is to be expected that an interdisciplinary discussion of heavy metal and gender today will lead to innovative impulses for research and bring forth new and unexpected results.
It will be the first scholarly conference on heavy metal in Germany and the first metal conference world-wide, which focuses on issues of gender.

Call for Papers: Deadline extended

We welcome contributions from the broadest spectrum: Musicology, Gender studies, Cultural studies, Sociology, Literary studies, Media studies etc.
The conference language is English.
We are happy to announce that we received many interesting proposals already before 31st October. Thanks to all who submitted an abstract!
Because of the huge interest in the issue at the Inter-Disciplinary.Net conference “Heavy Fundametalisms” 3rd - 5th November in Salzburg, we decided to keep the call open until 16th November.
Abstracts of no more than 300 words should be sent to:

Dr. Florian Heesch
History | Herstory
University of Music Cologne
Email: heesch(at)mhs-koeln.de

More info at http://www.metalandgender.de/

Le colloque "25 ans de sociologie de la musique en France. Ancrages
théorique et rayonnement international" se déroule la semaine prochaine à Paris, jeudi 6, vendredi 7 et samedi 8 novembre, au Réfectoire des Cordeliers pour les séances plénières du matin, et à la Maison de la Recherche de Paris Sorbonne - Paris IV les après-midi.
Le programme détaillé et toutes sortes d'informations sont disponibles sur
le site du colloque,
http://www.sociologie-de-la-musique.paris-sorbonne.fr/

Les conférenciers des matinées sont (dans l'ordre alphabétique) Howard S.
Becker, Jean-Louis Fabiani, Simon Frith, Anne-Marie Green, Antoine Hennion, Pierre-Michel Menger, Emmanuel Pedler.
Plusieurs communications, dans les ateliers de l'après-midi, concernent les musiques dites populaires, beaucoup d'entre elles présentées par des membres de l'IASPM bfe.

Dans le cadre de ce colloque, il y aura également un concert de
jazz au Sunset, par Laurent Cugny en quartet, avec pour invité Olivier Ker
Ourio. Ce sera le vendredi 7 à 22 heures. Là encore, plus d'informations
disponibles sur le site du colloque.

Amitiés à tous
Catherine Rudent

catherinerudent@yahoo.fr
 

A konferencián elhangzott előadásokat ígéretünkhöz híven folyamatosan töltjük fel - a jobb oldali címkék között lehet keresni az előadások címei és előadói szerint, de ebben a bejegyzésben is folyamatosan frissíteni fogjuk az előadások listáját, ha valaki egyben szeretné áttekinteni őket.

A konferencia előadásainak videói:

Barna Emília: Online zenei színterek: Esettanulmány Liverpoolból

Batta Barnabás - Digi-pop és „új“ regiszterek

Bodó Balázs - Szükség törvényt bont: szerzői jogi kalózok és a magyar piac

Dobó Mátyás - Free! Ingyenes hozzáférés, sikeres üzleti modell

Gelegonya Edina: Önreprezentáció és önreklám a zenei hálózatokban

Gyulai Attila: Black Metal ist Krieg. A politika határai a black metalban

Ilg Barbara: Punk, Rock, Easy Rider(s) - A klasszikusnak számító zenei szubkultúrák és életstílus továbbélése egy helyi motoros közösségben

Kovács Balázs: Hanghálózatok metakommunikációja

L. Varga Péter - A kultuszképzés alakzatai: ideológiai konstrukciók a populáris zene kritikájában

Patakfalvi Czirják Ágnes: Sounds of Cluj

Pulay Gergő: Világzene vagy balkáni populáris kultúra: az elismerés és kirekesztés szimbolikus formái

Székely Levente: A médiafogyasztás (át)alakulása az ezredfordulótól napjainkig

Szervác Attila: Szabad zenei közösségek és hálózatok

Tófalvy Tamás - Hangok és közösségek: extrém zenei műfajok és identitások az online közösségek korában

Vályi Gábor - Lemeztúrás az internet után

Vitos Botond: DemenCZia. Rituális bolondokháza a csehországi psytrance partikon