Musical Transitions to European Colonialism in India and the Malay World: Conference

10-11 April 2015, King’s College London
You are warmly invited to attend the final major conference of the European Research Council project “Musical Transitions to European Colonialism in the Eastern Indian Ocean.” 
For further information at this preliminary stage, please see the project website:
Alternatively, please email the Principal Investigator, Dr Katherine Schofield:

9th Conference on Interdisciplinary Musicology

9th Conference on Interdisciplinary Musicology
Abstract submission deadline: 05 August 2014
Conference dates: December 4-6, 2014

National Institute for Music Research, Berlin, Germany

Technology is omnipresent in our lives and it plays an important role in contemporary social development, particularly in the so-called Westernized world. The role of technology in our daily life is even more so remarkable with the increasing ubiquity of technology, specially computing technology, in various activities of our contemporary society, music being a notable example. Yet, there is no single universally accepted definition of “technology”.

CIM14 will be aimed at all discourses on the interplay between technology and music, including collaborations between sciences and humanities, interactions between academic research and musical practice, and interdisciplinary combinations that are innovative, unusual, and creative.

Conference Sessions & Topics:

Please visit the conference site for a list of suggested topics including: Technology in Musicology, Ethnomusicology, Music- Education, Sociology, Anthropology, Psychology, Philosophy, Sound Recording and Technology of Musical- Instruments, Composition and Practice.

We are particularly interested in new emerging fields of technology in music research and practice, which could form a session on New Emerging Technologies, which might include: Music Neurotechnology, Neuromusicology & Neuro-inspired Music Theory, Evolutionary Computing in Music & Musicology, Computational Ethnomusicology and Unconventional Computing in Music.

Submission of papers:

CIM14 welcomes papers addressing the relationship between music and technology in a way or another. An important ranking criterion for the peer reviewing process will be the interdisciplinary nature of the paper.

Please see the online submission page for more information including important details about the submission format:

The Study of Musical Experiences: Data Collection, Interpretation and Analysis

Grieg Research School in Interdisciplinary Music Studies (GRS) invites Ph.D. candidates and other researchers to a research course focusing on methods and methodology as related to the collection of data material and the analysis of data material.

Dates: November 25th -28th, 2014

Location: University of Bergen, Norway


The course will be taught through lectures and workshops. Topics covered will include:

Methods of Data collection

  • Interviews: procedures and process
  • Interpersonal Process Recall Method
  • Working with focus groups: methods, concepts and practicialities
  • Workshops will focus on how to write interview guidelines, issues of reflexivity and practical conduct of interviews

Methods of Data Analysis

  • Interpretation of empirical material in qualitative music studies
  • The role of theory in the process of interpreting data.
  • Can hermeneutics be used as an analytical method?
  • Understanding the social dimension of reflexive methodology
  • “HyperRESEARCH” as a tool for analysis. Introduction and Workshop

The lecures and workshops will be given by David Hebert, Kari Holdhus, Kirsti Malterud, Randi Rolvsjord and Brynjulf Stige.

Candidates are invited to present work in progress from the fields of music education, music therapy, musicology and music performance/creative practice. For more information about the course, please visit the GRS website.


Abstract submission: Send the abstract to

Deadline for submission of abstract: Wednesday October 15th, 2014


Registration: online registration here. Closing date for registration: Friday November 14th


Please contact us at if you have any queries.

A Laboratory of Spring

Call For Papers
September 27-28, 2014
Centre For Philosophical Research & Department of the History of Art and Culture, Nicolaus Copernicus University, Torun, Poland

We invite you to participate in the symposium A LABORATORY OF SPRING devoted to the research on contemporary music and dance, as well as to their socio-cultural context – in the age after “The Rite of Spring” by Igor Stravinsky.
Research Areas: Musicology; Choreography and Dance Studies; Philosophy of Music; Cultural Studies; History of Art; History of Music; Psychology of Music; Sociology of Music; Ethnomusicology, Cognitive Science of Music; others related.
Key Speakers: Richard Taruskin (University of California, Berkeley), Pieter C. van den Toorn (University of California, Santa Barbara)

Thematic Section I:
– “The Rite of Spring”
– Igor Stravinsky
– Vaclav Nijinksy

Thematic Section II:
– creation and perception of contemporary music/dance
– cultural, social, and political context of music of last century
– empirical research on music and dance
– (new) philosophy of new music
– does music/dance express anything?
– others related

Abstract submission: June 30
Notification of acceptance: July 15
Registration fee: September 10
Booking the accommodation with organizers’ help: September 10

Language: English


Organizers: Department of the History of Art and Culture, Nicolaus Copernicus University (local co-organizer), Centre For Philosophical Research (main organizer).

The symposium is supported by the Ministry of Science and Higher Education.

The symposium website:

18th Biennial IASPM Conference Back to the Future: Popular Music and Time

*Versão em português abaixo*

*Versión en español abajo*

Please find below the call for papers for the 18th Biennial IASPM Conference (English, Portuguese and Spanish versions). Scroll to the very end for details of the Conference Academic Committee and Conference Organizing Committee. The CFP is also available on the website: The conference website will be up in a couple of months.

=== === ===

Back to the Future: Popular Music and Time

18th Biennial IASPM Conference

29 June – 3 July 2015

Universidade Estadual de Campinas

São Paulo, Brazil

Whether in relation to rhythms, eras, live performances, lyrics, identities, politics, scenes, production, or changing technologies, the topic of time can be linked to popular music in a variety of ways. The compartmentalising of sounds into genres, the ageing of audiences, and the shifting sands of the music industry all invoke notions of the temporal. For the 18th Biennial IASPM Conference, we invite researchers and practitioners to submit proposals for presentations that engage with the theme of time. We encourage proposals dealing with one of the following strands:

– Ageing Times: fandom and memory; musicians’ biographies; archiving and remastering; ageing bodies; ageing technologies; recycling repertoires.

– Historical and Social Times: contextual times; local and global histories and counter-histories; fashion, retro and revival trends; timelessness; sampling and other forms of sonic genealogies, re-circulations and surrogations.

– Modern Times: new sounds; new technologies; futurism; music industry strategies; mobile media.

– Phenomenological Times: creative process; performance deployment; gesture, affect and listening experience; cross-time productions, collaborations and performances.

– Structural Times: rhythm, tempo, groove, swing, beat and the various ways of conceptualizing the duration of sound; periodicity and repetition; flow and cadence; being in/out of time and sync; relationships between noise and silence(s).

There will be the options of: panels (of 3 or 4 presenters), individual papers, film/video presentations, or poster sessions.


Proposals of organized panels are strongly recommended (two-hour long sessions with four papers, or three papers and a discussant). Each session should leave at least 30 minutes for discussion or for comments by a discussant immediately following the presentations. The panel organizer should submit the panel abstract and all individual abstracts (200 words each) in one document, with a full list of participant names and email addresses. Where an independently submitted abstract appears to fit a panel, the Academic Committee may suggest the addition of a panelist.


We invite abstracts of no longer than 200 words, including five keywords for programming purposes. Individual paper presentations are 20 minutes long to be followed by 10 minutes of discussion.

Film/video session

Recently completed films introduced by their author and discussed by conference participants may be proposed. Submit a 200-word abstract including titles, subjects, and formats, and indicate the duration of the proposed films/videos and introduction/discussion.

Poster session

A space where presenters can exhibit posters, that remain on hand for a scheduled period for discussion, will be provided. A 200-word abstract by the poster’s author, including five keywords for programming purposes, must be submitted.


Please email your abstract as a Word doc attachment to Please name the file with your surname. The following format should be used:

– Name, affiliation and contact email address

– Type of presentation (select one from: panel, individual paper, film/video, poster)

– Title of presentation (and panel if applicable)

– Strand (select one from: Ageing Times / Historical and Social Times / Modern Times / Phenomenological Times / Structural Times)

– Abstract

– Five keywords

– Bio (80 words maximum)

Papers will be accepted in English, IASPM’s official language, and Portuguese and Spanish, IASPM Latin America’s official languages. For submissions in Portuguese and Spanish, an additional abstract in English is required, and, if selected, an English visual presentation is to be screened while presenting.

Questions about the organization of panels should be directed to the Chair of the Academic Committee, Goffredo Plastino: Suggestions for other possible events at the Conference should be directed to the Chair of the local Organizing Committee, Rafael dos Santos:

Each participant must be a member of IASPM: Each participant may present only one paper at the Conference, but may also preside over a panel or serve as a discussant.


Deadline for receiving abstracts: 31 May 2014

Acceptance/rejection letters: 30 September 2014

Opening registration: 1 October 2014

Deadline for “early bird” registration (US$ 150): 1 February 2015

Program draft: 1 March 2015

Conference fee payment deadline (US$ 200): 2 April 2015

Final program: 31 May 2015

=== === ===

De volta pro futuro / Back to the Future: Música popular e tempo

XVIII Congresso Bienal da IASPM

29 de junho a 3 de julho de 2015

Universidade Estadual de Campinas

São Paulo, Brazil

Seja em relação a ritmos, eras, performances ao vivo, letras de canção, identidades, política, cenas, produção, ou mudanças tecnológicas, o tema do tempo pode ser ligado à música popular de várias maneiras. A compartimentalização dos sons em gêneros musicais, o envelhecimento do público, e as areias movediças da indústria da música, tudo invoca noções de temporalidade. Para o 18º Congresso bienal da IASPM, convidamos pesquisadores e profissionais (músicos, productores, etc.) a submeter propostas de apresentação relacionados com o tema do tempo. Encorajamos propostas nos seguintes eixos temáticos:

– Tempo de envelhecimento / Ageing Times: fãs e memória; biografias de músicos; envelhecimento corporal; envelhecimento de tecnologias; arquivar e remasterizar; reciclagem de repertórios.

– Tempo histórico e social / Historical and Social Times: contexto temporal; histórias locais e globais; contra-histórias; moda; tendências retrô e de renascimento; atemporalidade; sampling e outras formas de genealogias sonoras, recirculação e substituições.

– Modernidade / Modern Times: novos sons; novas tecnologias; futurismo; estratégias da indústria da música; mídia móvel.

– Tempo fenomenológico / Phenomenological Times: processos criativos; desdobramentos de performance(s); gesto, afeto e experiências de escuta; produções, colaborações e performances cross-time.

– Tempo estrutural / Structural Times: rítmo, andamento, groove, balanço (swing), tempo/pulso (beat) e as várias maneiras de conceituar a duração do som; periodicidade e repetição; fluxo e cadência; estar no ou fora do tempo e sincronização (sync); relações entre ruído e silencio(s).

Haverá a opção de: paineis (de 3 ou 4 comunicações), apresentações individuais, apresentação de filme/vídeo, e sessão de posteres.


Propostas de paineis organizados são fortemente recomendadas (sessões de duas horas com quatro artigos, ou três artigos e um debatedor). Cada sessão deverá deixar pelo menos 30 minutos para discussão geral ou para a análise de um debatedor logo após as apresentações. O organizador do painel deve submeter o resumo geral do mesmo e todos resumos individuais (máximo 200 palavras) em um documento único, incluindo a lista completa de participantes e endereços eletrônicos. Quando um resumo independente se encaixar em um painel, o comitê organizador poderá sugerir sua adição.

Apresentações individuais

Convidamos a submissão de resumos de no máximo 200 palavras, incluindo cinco palavras-chave. Apresentações individuais terão a duração de 20 minutos seguidos de 10 minutos de discussão.


Filmes/videos recentemente concluídos apresentados por seu autor e discutidos pelos participantes da conferência podem ser propostos. Enviar um resumo de 200 palavras, incluindo título, assunto e formato, além de indicar a duração tanto do filme/vídeo proposto quanto da introdução/discussão.

Sessão de pôsteres

Será fornecido um espaço onde os apresentadores poderão expor seu poster e permanecer à disposição por um período programado para a discussão. Um resumo de no máximo 200 palavras, incluindo cinco palavras-chave, deverá ser submetido pelo autor do poster.


Favor enviar resumo como arquivo Word, intitulado com seu sobrenome, para O formato seguinte deve ser usado:

– Nome, instituição, e-mail

– Tipo de apresentação (selecionar entre: painel, comunicação individual, filme/video, poster)

– Título da comunicação (e painel se aplicável)

– Eixo temático (selecionar entre: Tempo de envelhecimento / Tempo histórico e social / Modernidade / Tempo fenomenológico / Tempo estrutural)

– Resumo

– Cinco palavras-chave

– Bio (máximo de 80 palavras)

Resumos serão aceitos em inglês, a língua oficial da IASPM; e português e espanhol, línguas oficiais da IASPM latinoamericana. Para submissões em português e espanhol, um resumo (abstract) adicional em inglês é mandatório. Se selecionada, a comunicação em português ou espanhol deverá ser acompanhada por projeção visual concomitante em inglês.

Todos os participantes deverão ser sócios da IASPM: Cada participante poderá apresentar somente um trabalho no Congresso, mas podera também dirigir uma sessão ou servir como debatedor.

Em caso de dúvidas, os interessados na organização de paineis devem entrar em contato com o Diretor do Comitê Acadêmico, Goffredo Plastino: Sugestões para eventos possíveis no Congresso devem ser enviados para o Presidente do Comitê Organizador local, Rafael dos Santos:


Prazo para submissão de propostas: 31 de maio de 2014

Cartas de aceite: 30 de setembro de 2014

Inscrições no congresso: a partir de 1º de outubro de 2014

Inscrição “early bird” (US$ 150): 1º de fevereiro de 2015

Programa preliminar: 1º de março de 2015

Prazo final para pagamento de inscrição (US$ 200): 2 de abril de 2015

Programa Final: 31 de maio de 2015

=== === ===

De vuelta al futuro / Back to the Future: Música popular y tiempo

18º Congreso bienal IASPM

29 de junio al 3 de julio de 2015

Universidade Estadual de Campinas

São Paulo, Brasil

Ya sea en relación con ritmos, eras, performances en vivo, letras de canciones, identidades, política, escenas, producción, o cambios tecnológicos, el tema del tiempo puede ser vinculado con la música popular de varias maneras. La compartimentalización de sonidos en géneros musicales, el envejecimiento de los públicos, y las arenas movedizas de la industria de la música, todo invoca nociones de temporalidad. Para el 18º Congreso bienal de IASPM, invitamos a investigadores y profesionales (músicos, productores, etc.) a enviar propuestas de presentación relacionadas con el tema del tiempo. Alentamos propuestas en cualquiera de los siguientes ejes temáticos:

– Tiempo de envejecimiento / Ageing Times: fans y memoria; biografías de músicos; envejecimiento corporal; envejecimiento de tecnologías; archivos y remasterización; reciclajes de repertorios.

– Tiempo histórico y social / Historical and Social Times: contexto temporal; historias locales y globales; contra-historias; moda; tendencias retro y de revitalización; atemporalidad; sampleo y otras formas de genealogías sonoras, recirculación y sustituciones.

– Modernidad / Modern Times: nuevos sonidos; nuevas tecnologías; futurismo; estrategias de la industria da música; medios móviles.

– Tiempo fenomenológico / Phenomenological Times: procesos creativos; despliegue de la performance; gesto, afecto y experiencias de escucha; producciones, colaboraciones y performances cross-time.

– Tiempo estructural / Structural Times: ritmo, tempo, groove, swing, pulso y las varias formas de concebir la duración del sonido; periodicidad, repetición; flujo y cadencia; estar a/ fuera de tiempo y sincronización; relaciones entre ruido y silencio(s).

Se aceptarán propuestas de paneles (3 o 4 ponentes), ponencias individuales, filmes/videos y posters.


Se recomiendan fuertemente las propuestas de paneles de dos horas (de cuatro ponencias o de tres ponencias más comentador). Cada sesión deberá considerar al menos 30 minutos para la discusión general o para el análisis de un comentador luego de las presentaciones. El organizador del panel debe proponer un resumen de panel y todos los resúmenes individuales (máximo de 200 palabras) en un único documento, incluyendo la lista completa de participantes con sus correos electrónicos. Si alguna propuesta individual coincidiera con el tema de un panel, el comité organizador se reserva el derecho sugerir su inclusión.

Ponencias individuales

Invitamos propuestas de resúmenes de un máximo de 200 palabras más cinco palabras clave. Las ponencias individuales tendrán una duración de 20 minutos seguidos de 10 minutos de discusión.


Filmes/videos recientemente terminados podrán ser presentados por su autor y discutidos para ser exhibidos y discutidos por los participantes del congreso. Los resúmenes de 200 palabras deben incluir el título, asunto y formato, además de indicar la duración prevista tanto para exhibición como para discusión.


Un espacio para exponer posters será proporcionado, así como un tiempo para presentación y discusión. El autor del poster deberá enviar un resumen de 200 palabras máximo, con cinco palabras clave.

Sumisión de propuestas

Por favor envíe su resumen como documento Word adjunto al correo electrónico Asigne su apellido como nombre del documento, que deberá contener en su interior:

– Nombre, afiliación institucional y dirección de correo electrónico de contacto

– Tipo de presentación (elija una de los siguientes: panel / ponencia / filme o video / poster)

– Título lo de la presentación (y panel, si se aplica)

– Eje temático (elija uno de los siguientes: Tiempo de envejecimiento / Tiempo histórico y social / Modernidad / Tiempo fenomenológico / Tiempo estructural)

– Resumen

– Cinco palabras clave

– Biografía (80 palabras máximo)

Los resúmenes serán aceptados en inglés, lengua oficial de IASPM, portugués y español, lenguas oficiales de la rama latinoamericana de IASPM. Para las sumisiones en portugués y español, un resumen (abstract) adicional en inglés es requerido. De ser seleccionada, toda ponencia en portugués o español deberás ser acompañada por una proyección visual simultánea en inglés.

Todos los participantes deberán ser socios de IASPM: Cada participante podrá presentar solamente una propuesta en el congreso, aunque podrá también dirigir una sesión o actuar como comentador.

En caso de dudas, los interesados en la organización de paneles deben contactar al Director del Comité Académico, Goffredo Plastino: Sugerencias relativas a eventos posibles en el Congreso deben ser enviadas al Presidente del Comité Organizador local, Rafael dos Santos:


Plazo para sumisión de propuestas: hasta el 31 de mayo de 2014

Cartas de aceptación: 30 de septiembre 2014

Inscripción: a partir del 1º de octubre de 2014

Inscripciones tempranas ($150): 1º de febrero de 2015

Programa preliminar: 1º de marzo de 2015

Plazo final para inscripción ($200): 2 de abril de 2015

Programa final: 31 de mayo de 2015

=== === ===

Academic Committee / Comitê Acadêmico / Comité Académico

Owen Chapman, Sue Miller, Ed Montano, Lutgard Mustaers, Goffredo Plastino, Catherine Rudent, Oliver Seibt, Jennifer Lynn Stoever-Ackerman, Támas Tófalvy, Martha Ulhôa, Haekyung Um.

Organizing Committee / Comitê Organizador / Comité Organizador

Rafael dos Santos (Chair / Presidente), Evandro Marques, Julio Mendívil, Vinicius Moreno Correa, Eduardo Paiva, Esdras Rodrigues, José Roberto Zan, with the / com o / con el IASPM Executive Committee.

Out of Bounds. Ethnography | Music | History

Harvard University Department of Music is delighted to present a conference in honor of G. Dordon Watts Professor Kay Kaufman Shelemay. Out of Bounds: Ethnography, History and Music, will take place  October 24-26, 2014 in the Music Building/Paine Hall on the Harvard University campus. The conference is free, but registration is recommended. For information and to pre-register, go to:

Conference papers will be organized around the importance of history in ethnomusicology, collaborative ethnography, migration, music and memory, and the interrelationship between the cognitive and the musical. A keynote will be given by Ellen T. Harris, Class of 1949 Professor Emeritus at Massachusetts Institute of Technology. The conference also features a concert by Ethiopian pop sensation, Debo Band, an 11-member group led by Ethiopian-American saxophonist Danny Mekonnen.

Additional conference information is available at  To contact conference organizers, write

Analysis, Cognition and Ethnomusicology Conference

Analysis, Cognition and Ethnomusicology Conference: BFE and AAWM 2014


Annual Conference of the British Forum for Ethnomusicology (BFE 2014)


Third International Conference on Analytical Approaches to World Music (AAWM 2014)



July 1–4, 2014

Hosted by: Department of Music, School of Oriental and African Studies (SOAS), University of London and Institute of Musical Research (IMR), School of Advanced Studies, University of London, in association with the Centre for Music and Science (University of Cambridge) and the Society for Music Analysis.

List of speakers and titles



To register please go to:

Further information:





Lines and circles

16th International Kozani Music Seminar
1st music conference

August 19-20, 2014

call for papers

Lines and Circles

The Kozani music seminar has been host to artists and students from all over the world since 1988. In 2014 we are launching the first music conference which will precede and introduce the music Festival that runs parallel to the music course.

We are inviting proposals for paper presentations, posters/exhibits, performances or colloquia to take place in the Archaeological Museum of Aiani addressing the broader theme of music notation.

Preparing and submitting your conference proposal

Eligible participants may be performers, composers, graphic artists, linguists, music theorists, music enthusiasts and philologists or any other researchers who wish to conttribute to the various themes underlying the main subject of notating music.

An abstract of no more than 350 words, your name, address and cv (optional) may be submitted to before 1 August. However, applicants are strongly advised to make an early pre-registration as the conference offers limited spaces and priority will be given to early entries. Unlimited spaces of virtual participation are available for those who are unable to attend the conference in person, in the form of poster or video presentations. Proposal ideas that extend beyond these thematic areas will also be considered. The participation fee is 80 Euros payable to “Pyxida”. Payment guidelines will be offered on acceptance of the paper. There is no fee for the application submission.

The conference is bilingual and presentations may be in either English or Greek. There will be a surtitle service on offer for papers submitted before the 1st of August and simultaneous interpretation/translation on request for other papers. The conference will be audio and video recorded and all conference papers will be published in print and electronically in Greek and English.

Regarding your travel and accommodation please contact us to ensure a timely arrival and enjoyable stay in Kozani/Aiani.


To enquire about the conference, including speakers, sessions, registration etc please contact Dr. Panayiotis Demopoulos at

South African Society for Research in Music (SASRIM) Eighth Annual Congress

Invitation and Call for Papers


University of the Witwatersrand, Johannesburg 12-14 September 2014

SASRIM cordially invites you to its 2014 annual congress to be held at the University of the Witwatersrand.

The keynote speaker will be well-known music education specialist Lucy Green from the Institute of Education at the University of London.

Submissions are invited on any research related to music. Presentations will be accepted solely on the basis of their quality, and not on their subject matter or approach. SASRIM hopes that the conference in this way will stimulate the submission of a wide variety of proposals, including those that may cross the boundaries of conventionally segregated disciplines and thereby offer new perspectives.

We extend a special invitation to students to submit proposals and use the conference as a forum for networking and their development. Students whose proposals are accepted may apply to SASRIM for limited financial support.

SASRIM invites proposals for

  • papers (20 minutes for presentation and 10 minutes for response)
  • lecture-demonstrations (45 minutes for presentation and 15 minutes for response)
  • panel discussions (45 minutes for presentations and 15 minutes for responses)
  • study group sessions (90 minutes, i.e. 3 presentations by different presenters and responses)
  • poster sessions

Proposals for all presentations, lecture-demonstrations and poster sessions must include

  • an abstract with title (maximum 300 words)
  • biographical information and contact detail of presenter(s) (maximum 50 words)
  • audio-visual or display requirements

Proposals for panel discussions and study group sessions must include

  • an explanation of the topic and a structure for its discussion (maximum 400 words)
  • a list of all members as well as their institutional affiliation and contact details
  • audio-visual requirements

Proposals must be submitted to by no later than 15 April 2013.

Lucy Green is Professor of Music Education, Institute of Education, University of London. She is a leading music education specialist, with a focus on the philosophy and sociology of music education, particularly musical identities. She is the author of five single-author books and her work has significantly influenced the thinking about musical learning and pedagogy,  particularly how the learning practices of popular musicians can inform and change formal learning (e.g. Music, Informal Learning and the School and How Popular Musicians Learn).

Phone: +27 (012) 429 6662 – Fax: 086 525 3704
Conference Website:


On Collecting: Music, Materiality and Ownership

11-12 July 2014, National Museum of Scotland, Edinburgh

A collaborative conference between the Reid School of Music at the University of Edinburgh and the National Museum of Scotland

Conference website:


Music—in its various material forms—has long been collectable and collected. Scores into annuals, phonographs as furniture, building a library, record clubs, anthologies, limited editions, bootlegs, test pressings, remixes, hard drives, playlists, likes; music has been and is desirable, as capital and as property. But despite its centrality to everyday musical life, collecting has not been sufficiently studied. Collecting, elsewhere, contributes to compositional processes from song cycles to musique concrete and more. While from another footing, collecting occupies a central space in histories of folk and world music, with connotations of music’s thingness intact.

Sound archives have become repositories of collections; collectors have acted as catalysts for the global traffic of music: across continents, across formats, across economies, across regimes of value. Individual enthusiasts—private collectors—have contributed to the recent cultural blurring of oral history and institutional exhibition, as previously held assumptions about the disposability of popular musics and their attendant materials have been subverted in museum displays. And the act of collecting extends live music experiences through retention of the material extensions of gigs and concerts: posters, ticket stubs, set lists.

Digital music and its micromaterialisation have made music easier to gather and possess than ever, and new collecting practices have emerged: in the developing world, memory cards and USB sticks have become new containers for collecting and circulation; in the UK and USA digitisation has effected a rise in vinyl sales, and international events like Record Store Day exist to encourage the purchase of certain formats. Listeners continue to collect, digitally, even as the concept of ownership runs counter to streaming and subscription services.

In a variety of ways, then, collecting has a central role in many strands of music history and many practices that are currently unfolding. Yet it occupies a strange position: straddling processes of production, reproduction, preservation, mediation, consumption, and recreation. This conference seeks to explore music and collecting from cross- and interdisciplinary perspectives, from inside the academy and out: to contribute from musical perspectives to ongoing discussions of theorising materiality; to make sense of how the concepts of collecting inform relationships between music, ownership, and listening; to develop ideas on how to study music’s material forms; to understand how music consumption can become an act of composition or performance; to investigate how the act of collecting can compress processes of mediation and issues of power; to examine how collecting music interfaces with issues of gender, identity, class, affect, memory, and value.

We invite papers from across and beyond the music disciplines on the theme of music and collecting. Areas of discussion may include, but are not limited to:

•       Music and materiality
•       Music, ownership and listening
•       Collecting, copyright and ethics
•       Digitisation and music collecting
•       Music and museums
•       Collecting and gender
•       Music consumption as composition or performance
•       Issues of affect, identity, memory and value
•       Collectors as mediators, creators, traffickers, producers
•       The commercialisation of collecting

Please submit abstracts of no more than 250 words to by 28 February 2014.

Conference organisers: Tom Western, Sarah Worden, Tami Gadir, and Arnar Eggert Thoroddsen

Further information at