I'm chairing the program committee for the upcoming conference of the International Association for the Study of Popular Music, U.S. chapter. I'm trying to get the word out as widely as I can, so anyone reading this, feel free to pass it along to any interested parties or post it to any relevant listservs, forums, etc. Here's the call for papers:
International Association for the Study of Popular Music, U.S. Chapter – Call for Papers.
Time Keeps on Slipping: Popular Music Histories
The International Association for the Study of Popular Music, U.S. Chapter (IASPM-US) will hold its annual conference Mar. 9-13, 2011 in Cincinnati, OH, in a joint meeting with the Society for American Music.
We invite proposals for individual papers or panels of three or four presenters. Alternate presentation formats, such as lecture/performances and roundtable panels, will also be considered.
We welcome proposals concerning all facets of popular music in the U.S. and abroad, but especially encourage submissions that address the following themes:
Canonical Histories: What aspects of the popular music past have assumed greatest authority, and why? What sort of power do canons (of music, of scholarship, of criticism) exert over the writing of popular music history?
Alternative Histories: What parts of popular music’s past have gone unrecognized? How can we re-imagine popular music history through the lenses of:
- Race and ethnicity?
- Gender and sexuality?
- Nationality and colonialism?
- Cultural hierarchy (high, low, middlebrow)?
- Bodily ability and disability?
Conversely, how can the study of popular music in historical perspective help to shed new light on these critical subjects?
Archival Approaches: What sources can we use to uncover popular music’s many pasts, and where can we find them? How are musical archives changing in the digital age?
Historical Methods: What counts as “history,” and what role does history play, in the various disciplines and sub-disciplines that comprise the field of popular music studies?
Local Histories: How can we decipher popular music’s connection to specific places at specific points in time? How can we use the location of this year’s conference – Cincinnati, Ohio – as a starting point for reflection on aspects of popular music history?
The deadline for submissions is October 1, 2010. Proposals should be submitted electronically to Steve Waksman, chair of the program committee, at email@example.com. Individual presenters should submit a paper title, 250-word abstract, and author information including full name, institutional affiliation, email address and a one-page c.v. Please send abstract and c.v. as separate MSWord attachments. Panel proposals should also include a panel title and abstract for the whole session.
All presenters at the conference are required to be current members of IASPM-US. For membership information, go to www.iaspm-us.net.
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