cfp: Communicating Music Scenes: Networks, Power, Technology

*Budapest, 19-20 May 2017*

The conference aims to address the relation(ship)s and communication between people, formal and informal institutions, and technologies in the context of music making. Understanding and exploring music scenes as networks can help us to uncover the power relations that affect those scenes, while also leading to a nuanced understanding of the changing technological and media context in which music is produced, disseminated, consumed, and talked about.

We invite papers that address the following themes:

   - Music scenes and formal and informal communication infrastructures in view of the related technologies and economies
   - Music scenes and genres, technology and networks: Social Network
   Analysis, Actor Network Theory etc.
   - Communication in and about music scenes
   - Power as formal and political, as well as informal and subcultural: inclusion and exclusion
   - Musical diplomacy, music scenes and transnational communication
   - Technology, power and remembering/forgetting music scenes
   - (Sub)cultural and other forms of capital in music scenes
   - Music scenes and DIY media, online and offline
   - Music scenes and digital technology: change and/continuity
   - Underground scenes and the formal music industries: power and democracy
   - Music scenes and society: the reproduction and/or subversion of power structures through technology and communication infrastructures
   - Local – global dynamics and power: the global music industries and local infrastructures
   - Gender, sexuality and music scenes
   - Nation(ality), ethnicity and music scenes
   - Age and music scenes
   - Social class and music scenes

*Keynote Speakers:*

David Hesmondhalgh (University of Leeds, UK)
Paolo Magaudda (University of Padova, Italy)
Anna Szemere (ELTE, Hungary)
Ferenc Hammer (ELTE, Hungary)

The conference will be held at the Institute of Musicology, Research Center for Humanities, Hungarian Academy of Sciences (HAS), and is jointly organized by the Institute of Musicology, Budapest University of Technology
and Economics (BME) and IASPM Hungary.

*Deadline for abstracts (250 words) with short bio (50 words):* 31 January

Conference website: cms2017.wordpress.com

Organizers: Ádám Ignácz (HAS), Emília Barna (BME), Tamás Tófalvy (BME)


Networked Music Cultures: Contemporary approaches, emerging issues

out now:

This collection presents a range of essays on contemporary music distribution and consumption patterns and practices. The contributors to the collection use a variety of theoretical and methodological approaches, discussing the consequences and effects of the digital distribution of music as it is manifested in specific cultural contexts.

The widespread circulation of music in digital form has far-reaching consequences: not least for how we understand the practices of sourcing and consuming music, the political economy of the music industries, and the relationships between format and aesthetics. Through close empirical engagement with a variety of contexts and analytical frames, the contributors to this collection demonstrate that the changes associated with networked music are always situationally specific, sometimes contentious, and often unexpected in their implications.

With chapters covering topics such as the business models of streaming audio, policy and professional discourses around the changing digital music market, the creative affordances of format and circulation, and local practices of accessing and engaging with music in a range of distinct cultural contexts, the book presents an overview of the themes, topics and approaches found in current social and cultural research on the relations between music and digital technology.


1. Editors’ introduction – Raphaël Nowak and Andrew Whelan

2. The People’s Mixtape: Peer-to-Peer File Sharing without the Internet in Contemporary Cuba – Tom Astley

3. Musica Analytica: The Datafication of Listening – Robert Prey

4. The Legacy of Napster – Matthew David

5. Streaming Music in Japan: Corporate Cultures as Determinants of Listening Practice – Noriko Manabe

6. Making Sense of Acquiring Music in Mexico City – Víctor Ávila-Torres

7. Reading Songs, Experiencing Music: Co-creation, Materiality and Expertise in Beck’s Song Reader – Antoni Roig and Gemma San Cornelio

8. The Digital Music Boundary Object – Raphaël Nowak and Andrew Whelan

9. ‘A Step Back to the Dark Ages of the Music Industry’: Democratisation of Record Production and Discourses on Spotify in Kuka Mitä Häh? – Juho Kaitajärvi-Tiekso

10. Off the Charts: The Implications of Incorporating Streaming Data into the Charts – Steve Collins and Pat O’Grady

11. Rethinking the Digital Playlist: Mixtapes, Nostalgia and Emotionally Durable Design – Kieran Fenby-Hulse

12. A Song for Ireland? Policy Discourse and Wealth Generation in the Music Industry in the Context of Digital Upheavals and Economic Crisis – Jim Rogers and Anthony Cawley

13. Pachelbel This Ain’t: Mashups and Canon (De)formation – Anthony Cushing

14. Music Streaming the Everyday Life – Anja Nylund Hagen

see here: http://www.palgrave.com/in/book/9781137582898