Like, share and subscribe: Youtube, music and cyberculture before and after the new decade

Call for papers

In February 14th of 2005, Youtube was founded and grew to become the biggest online platform for video sharing. In these past 15 years, billions of audiovisual contents have been produced, shared, transformed, downloaded and consumed by billions of users worldwide, placing this website as a central hub for their daily lives while browsing the internet. While Youtube was – and still is – a recognized online space that provided new digital formats of content production and sharing, this platform also marked this past decade in the social, political and cultural spectrums of everyday life, creating new work logics and forms of labour (from DIY to self-made Youtubers), creative communities and social bubbles in this cyberspace. Alongside Youtube, the rapid and ever growing technological developments of the internet shaped how modern life is, nowadays, always connected in a global cloud. From smartphones to laptops, from televisions to refrigerators, technology plays a central role in the current paradigm of connectivity, social networks and instant feedback culture. Music, in many ways, as a social device, is inseparable of these processes, being a key element of our daily routines. Music was progressively molded and adapted to the technological and social demands of the past years, but also took part in shaping in several ways the new technology itself. This dual connection enabled the predominance of music and its sociocultural practices in several online platforms, forums and specialized websites, while at the same time, the role of the user and their input is central to the participatory culture that defines the current era. The boundaries between users and producers are increasingly blurred, if not already inexistent, and many of the contents available online are the result of the individual investment of the produsers, allowing to share their own personal interests with cybercommunities formed around specific objects.

​Considering these aspects, it’s of the utmost relevance to discuss how musical practices – composing, listening, playing, teaching – have been transformed in the past fifteen years and what is to be expected and considered to be the future of music in the next decade of 2020. How was Youtube a trigger in the consolidation of new audiovisual formats online from its start? What are the new and reinvented forms of music production and consumption in digital spaces? Are these online platforms contributing to ease our daily lives? How is the internet transforming the creative industries and the agents who play a part in them? What are the main changes in music production and consumption in the industry of entertainment and audiovisual media? And also, how is the internet relevant for musicology, both as a tool and/or an object? This conference aims to gather students, academics, artists, teachers, composers, performers and other interested parties in the discussion and research on music, internet and cyberculture, inquiring about the role of the social, cultural and technological transformations in the digital paradigm regarding the consumption, circulation, production and remediation of music. Taking into account the 15th anniversary of Youtube and the start of a new decade of the 21st century, this conference aim’s to discuss, among other topics, the following subjects:

  • The role of Youtube in the musical paradigm from 2005
  • Youtube as a tool, an object and/or a source for musicology and music education
  • The impact and role of new technologies in composing and performing music
  • New forms of music production, consumption and circulation online
  • The uses of music in digital audiovisual contents and processes (films, tv, videogames, publicity, propaganda, social networks, etc.)
  • Cybercommunities and fans, interactivity and participatory cultures
  • Internet and the DIY discourse in music
  • Impact and repercussions of digital culture in today’s way of life
  • Cultural industries and digital aesthetics

Essential informations:

​Presentation lenght: 20 min + 10 min for discussion/questions
Deadline for submission: March 8
Proposal guidelines: abstract (c. 300 words) with a biographical note (c. 150 words) in a doc. file
​Send to:

All the abstracts will be submited to a blind peer-review and the results and programme draft will be announced around April 15th.

A selection of papers will be published in a miscellaneous volume.

Keynote speaker:
Dr. Holly Rodgers (Goldsmiths, University of London)

The conference will take place in Colégio Almada Negreiros of the Faculty of Social Sciences and Humanities of the NOVA University of Lisbon, organized by the Research Cluster of Music and Cyberculture (CysMus) of the Centre for Study of Sociology and Aesthetics of Music (CESEM).

All the informations concerning the conference are provided and updated on the official website and on the CysMus site, and also on its facebook page and twitter.

Through the Prism of Chopin: Reimagining the 19th Century. International Chopinological Congress

NEW DATE: 6–9 May 2021, Warsaw (Poland)

On the threshold of the nineteenth century, the hierarchy of the aims of music and the means employed to attain them changed, thereby affecting the relationships among musical works, their composers and their listeners. Our understanding of this new and complex situation of the musical work is enhanced by grounding the objects of interest in relevant contexts, not only comparing them with other works of the same type and genre, but also taking account of the specificities of the times, social practices, intellectual currents, reception history, and so on.
In this Congress, we hope to examine the nineteenth century from the perspective of Chopin’s work, taking the composer as a starting or reference point for our considerations. By creating a forum for comparative study, both within musicology and music theory and also on an interdisciplinary plane, we hope to interpret the nineteenth century partly from perspectives that derive from other humanistic disciplines, including literary studies, the visual arts, art history, psychology, sociology and cultural economics.

We invite papers that focus on nineteenth-century musical culture and works of music in relationship to and researched through:
– Musicology, Music Theory and History of Music
– Semiology
– Literature
– Philosophy
– Music Cognition
– Sociology
– New Organology
– Visual Studies
– History of Art
– Digital Editions and Computer Analyses

The Congress is planned for 6–9 May 2021 in Warsaw (Poland).

New Deadlines
Please submit proposed titles of papers and abstracts by 1 March 2020 to the following e-mail address:
Abstracts should be no longer than 500 words (bibliography not included), and should stipulate the main research aims and questions, information on the material analysed and the methods employed, and research results (conclusions) (plus bibliography and key words).
The Scholarly Committee will finalise its selections by June 2020. All those invited to participate in the Congress will be obliged to submit full papers by 1 February 2021; the papers will be available only to the Congress organisers in order to translate them
into English or French for use during the event.

Congress languages
The Congress will be conducted in English and French.

The fee for participation in the Congress is 50 euro (200 PLN).

Congress proceedings
Material selected by the organisers will be published. Participation in the Congress is taken to signify participants’ permission for their papers to be published. Submitted and presented papers may be edited and revised by their authors for the purposes of publication.

Scholarly Committee
Professor Jeffrey Kallberg (Chair)
Professor Zofia Chechlińska
Professor Irena Poniatowska
Professor John Rink
Professor Jim Samson
Professor Alexander Stefaniak
Dr Artur Szklener

For further information contact:;;

More information: