Ludo2016 – Fifth Anniversary Conference on Video Game Music and Sound

We are delighted to announce our Call for Papers for Ludo 2016! Please help circulate our poster online, and around your institutions!


April 8th–10th, University of Southampton
Fifth Anniversary Conference on
Video Game Music and Sound
Call for Papers

The organizers of Ludo2016 are accepting proposals for research presentations at the fifth annual Easter conference. While we welcome all proposals, we are particularly interested in papers that support the theme of ‘Video Game Audio and History’. Possible topics on this theme include:

  • Factors in the history and development of game audio,
  • The changing relationships between music in games and in other media,
  • Challenges and approaches to game audio historiography,
  • Canonicity and the curation of game audio,
  • Video game music and other music histories.

Presentations should last twenty minutes, to be followed by questions. Please submit your paper proposal (c.200 words) by email to by January 31st 2016.

We also welcome session proposals from organizers representing two to four individuals; the organizer should submit an introduction to the theme and c.200 word proposals for each paper.

Proposals for papers in alternative formats, such as performances or demonstrations, should be discussed with the conference organizers before the abstract is submitted.

The conference will feature keynote addresses by Neil Lerner (Davidson College), co-editor of Music in Video Games: Studying Play (Routledge, 2014), and Andrew Barnabas (Bob and Barn), composer of Brink (2011) and MediEvil (1998).


Hosted by Kevin Donnelly, the Music Department and the Film Department at the University of Southampton.


Organized by Michiel Kamp, Tim Summers, Mark Sweeney.

Popular Music and Public Diplomacy

Technische Universität Dortmund, Germany
6-8 November 2015

Call for Papers

In the early years of the Cold War, Western nations increasingly turned towards popular music in their public diplomacy. While the diplomatic use of popular music was initially limited to such genres as jazz and gospel, the second half of the twentieth century saw a growing presence of various popular genres in diplomatic contexts, including country, bluegrass, rock, punk, reggae, and hip-hop. As an instrument of public diplomacy, popular music plays a complex role in contested terrain. Whether it functions as cultural subversion, as a reaffirmation of cultural hegemony, or as a combination of both is conditioned by a web of interdependent factors ranging from the music itself to its mediation and appropriation in different contexts.

Music diplomacy has not only impacted the ways in which audiences perceive foreign cultures, but it has also helped to shape the cultural horizons of politicians, diplomats, cultural managers, journalists, and musicians involved in diplomatic programs. In this way, music diplomacy has had highly significant cultural and aesthetic effects. The musicians’ role as their countries’ cultural ambassadors, for instance, had the potential to lead to radical transformations in the way they were perceived at home, forcing them to reconfigure their rhetorical and musical legitimation as artists. In a way, the diplomatic usability of musicians as ambassadors is an aesthetic and performative benchmark by means of which artists have re-defined themselves and their work. International cultural exchange with local musicians in host countries likewise inspired musical ambassadors to venture into previously unknown musical and cultural territories, thus impacting their aesthetics and oeuvres.

This conference seeks to illuminate the diplomatic function of popular music from a transnational and transdisciplinary perspective, accentuating its interconnectivity and dissemination across national borders. We are particularly interested in the nexus of power, popularity, aesthetics, and cultural exchange. How did popular music function in the ideological conflict between East and West, for instance, and how did its function change after the fall of the Iron Curtain? How did U.S. popular music programs interact with other nations’ initiatives to channel their self-representation through popular music? Who are the agents, stakeholders, and gatekeepers of popular music diplomacy? What is the role of celebrity in music diplomacy? Has popular music been an “efficient” instrument of national and communal self-representation and how do institutions measure its efficiency?

We invite contributions from a variety of disciplines, including cultural studies, musicology, ethnomusicology, political science, diplomacy studies, history, sociology, literature, international relations, and other relevant fields. Proposals should include a title, 250 word abstract, technical requirements, and short biographical sketch. Please submit your proposal by 1 April 2015 to

Keynote speakers include Martha Bayles (Boston College, U.S.) and Klaus Nathaus (University of Oslo, Norway).

The conference is hosted by the English Department and the Department of Music and Musicology at TU Dortmund University, Germany.

Organizing Committee:
Mario Dunkel (TU Dortmund University, Germany)
Sina Nitzsche (TU Dortmund University, Germany)

Conference website:



Perugia, Conservatorio di musica “Francesco Morlacchi”

30-31 ottobre, 1 novembre 2015


The twenty-second Annual Conference of the Italian Musicological Society will be hosted in Perugia  from 30th October to 1st  November 2015, in collaboration with the Conservatory of Music “Francesco Morlacchi”. On October 31st at 4 p.m. the annual Meeting of all members will take place .

The Conference will be divided in 4 free paper sessions and 2 theme-oriented sessions about

  1. musical sources and new research topics;
  2. new acquisitions in organology.


Scholars from all over the world are invited to submit their proposals.

In your abstract (which has not to exceed 30 lines in word format compatible) please indicate the title of the proposed paper, the state of the art in your research field, with an outline of the project and the specific contribution to the current knowledge.

Along with the text please send also a short C/V (max. 15 lines) and indicate the A/V equipment required.

The paper shall not exceed 20 minutes in duration (corresponding to an 8-page text containing to a maximum of 16000 characters). Scholars are not allowed to send more than one abstract. The abstracts have to be sent to the e-mail address or – by mail – to the Società Italiana di Musicologia, Casella Postale 318 Ag. Roma Acilia, via Saponara 00125 Rome, Italy (please add on the envelope the indication “XXII Convegno Annuale”) no later than June 15, 2015.

Acceptance of papers will be notified by July, 15, 2015.

Please provide your full name, address, phone number, fax number and e-mail address. For further information about the conference please visit the web site:


Ludo 2015


9–10 April 2015, University of Utrecht

Learning from Video Game Music

Call for Papers PDF

The Ludomusicology research group will be hosting a two day conference on video game audio to take place on the 9th and 10th of April, 2015 at Utrecht University. We are seeking proposals for papers on the topic of video game music and sound. Papers may contain interdisciplinary import of any type. Paper proposals are welcome from both academics and those working in the video game industry.

While we welcome all proposals, we are particularly interested in papers that support the education theme in terms of how we learn with, learn from, and learn about, video game music. Possible paper topics on this theme include:

  • Instrumental teaching through video games
  • Pedagogics of ludomusicology
  • Composition in video games
  • Music, sound design and video games in higher education
  • Game audio outside games
  • Trans-media interactions
  • Lessons for musicology from game music

A keynote address will be given by Karen Collins, author of Playing with Sound (2013), Game Sound (2008), and From Pac Man to Pop Music (2008). Other speakers are to be confirmed shortly.

Papers should be a maximum of 20 minutes in length, with 10 minutes allowed for discussion. Shorter papers will also be considered for inclusion. Proposals should be no more than 250 words in length and sent as an attachment to



Organizers: Michiel Kamp, Tim Summers, Mark Sweeney.

Hosted by University of Utrecht.

Supported by The Institute for Cultural Inquiry (ICON). |

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.

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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

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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

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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

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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.

IMR Research Training: Popular Music

Institute of Musical Research: Popular Music Research Training day

Monday, 29 April 2013

Room 104, Senate House, Malet St, London WC1E 7HU

Convenor: Dr. Tom Perchard (Goldsmiths)


9.30am: Registration and coffee

10.00: Dr. Jason Stanyek (Oxford). Diaspora, Memory and Technology.

11.30: Prof. Keith Negus (Goldsmiths). Interpreting the Popular Song: Authors, Audiences and Meaning.

13.00 Lunch (not provided)

14.30 Prof. Anahid Kassabian (Liverpool). New Media, Ubiquitous Listening.

16.00 Tea


The fee for each day school is £20 but this is reduced to £10 per day for Student Friends of the IMR. To become a Student Friend of the IMR costs £10 per year. The IMR has a Hardship Fund for Research Training in Music London day schools to which PhD students may apply individually for assistance with travel costs, normally up to 50% of the cost of an individual trip. If you wish to apply please email with relevant details including the approximate cost of attending the day school(s).

Full details and application forms: