Enregistrer les musiques populaires - Recording popular music

9:00 - 9:45 (45min)

Registration

Distribution of badges

9:45 - 10:15 (30min)

Opening ceremony

Words of welcome from the organising team and the IASPM executive committee

10:15 - 11:00 (45min)

Keynote session: Recording Music: Saving It, or Making It?

Amphithéâtre

Antoine Hennion

11:00 - 11:15 (15min)

Break

11:15 - 12:00 (45min)

Keynote session: Sampling’s AH, AHA, and HAHA: Perspectives on aesthetic, political, and humorous aspects of sampling

Amphithéâtre

Ragnhild Brøvig

12:00 - 12:30 (30min)

The RILM Archive of Popular Music Magazines: An Introduction to a New Research Tool

Amphithéâtre

Tina Frühauf, Executive Director Répertoire International de Littérature Musicale (RILM); Beatriz Goubert, RAPMM Product Coordinator; Lindsey Eckenroth, RAPMM Associate Coordinator

12:30 - 14:00 (1h30)

Lunch

14:00 - 15:30 (1h30)

Recording, rights and remuneration models

C106

› Financialization of Arts and Culture: A Case Study of Music Assetization - D. Bondy Valdovinos Kaye, University of Leeds - Shauna-Kaye Brown, Simon Fraser University = Université Simon Fraser 14:00-15:30 (1h30)

› Recording Rights and Remuneration: How A&R Frameworks Adapt in an Era of Viral Artist Popularity and International Standards - Ben Bushell, University of West London 14:30-15:00 (30min)

› Spotting the Differences: mapping copyright histories in popular music recordings - Jennifer Skellington, Southampton Solent University 15:00-15:30 (30min)

14:00 - 15:30 (1h30)

Recording practices, mediations and intermediaries

C109

› “A Rising Tide Lifts All Boats”: On a Musician's Minimum Rate, Creative Labor, and Musicians as Organised Labour - Sam Whiting, Royal Melbourne Institute of Technology University 14:00-14:30 (30min)

› Le récit d'un ingénieur du son : Changements et réalités de l'industrie de l'enregistrement en Corée du Sud - Heiwon WON, Université Lyon 3 14:30-15:00 (30min)

› GEAR R' US! Staging Gear in Trade Shows - Samantha Bennett, The Australian National University - Eliot Bates, CUNY Graduate Center 15:00-15:30 (30min)

14:00 - 15:30 (1h30)

Recordings and their reception

C110

› Isolation, Individualised Listening, and Doom Metal - Pablo Rojas, Austrian Academy of Sciences 14:00-14:30 (30min)

› The aesthetic of intimacy in sentimental ballads as a media-technical possibility of private music consumption - Theresa Nink, University of Siegen = Universität Siegen [Siegen] 14:30-15:00 (30min)

› Whispering in Our Ears: Billie Eilish and the Unsettling Side of Sonic Intimacy - Kelly Hoppenjans, University of Michigan [Ann Arbor] 15:00-15:30 (30min)

14:00 - 15:30 (1h30)

Recording and gender studies

C111

› Female Figures in the Echoes of History - Chen Yanxi, China's First-Generation Female Recording Engineer - Miaotong Yuan, School of Music and Recording Arts, Communication University of China 14:00-14:30 (30min)

› Platformisation and Gender Dynamics: The Changing of the Chinese Recording Industry - Yuan Yao, University of Leeds 14:30-15:00 (30min)

› Girls in the studio: Exploring gendered dynamics in group music composition within Rome's alternative music scene. - Francesca Cireddu, Independent researcher 15:00-15:30 (30min)

14:00 - 15:30 (1h30)

Taylor Swift

C113

› Elegies for Family: Three Songs of Bereavement by Taylor Swift - Eric Smialek, University of Huddersfield 14:00-14:30 (30min)

› The Effect of Taylor Swift's Recording Practices on Prosodic Dissonance and Storytelling - Alexander Shannon, Indiana University - Jacobs School of Music 14:30-15:00 (30min)

› ‘Taylor's Version': Considering the branding processes of Taylor Swift's album re-recordings - Cerys Swain, University of Liverpool 15:00-15:30 (30min)

14:00 - 15:30 (1h30)

Recorded music as heritage in exhibitions and museums

C115

› Kaleidoscope Worlds: Sonic Traces in the Archive - Amanda Mills, University of Otago [Dunedin, Nouvelle-Zélande] 14:00-14:30 (30min)

› Le non-enregistrement commercial comme préservation du patrimoine d'un groupe : le cas des Malay Choirs du Cap (Afrique du Sud) - Denis-Constant Martin, Les Afriques dans le monde 14:30-15:00 (30min)

› Recorded music, digital mixtapes, and a growing historical archive in South Africa - Michael Drewett, Rhodes University, Grahamstown 15:00-15:30 (30min)

14:00 - 15:30 (1h30)

Digital Audio Workstations

C116

› Crowdsourced Recording Practices in Browser-Based DAWs - Martin Koszolko, University of Newcastle 14:00-14:30 (30min)

› The Rise of Software. Media Histories of Digital Audio Workstations - Valentin Ris, Universität Bonn = University of Bonn 14:30-15:00 (30min)

› In isolation: DAW technology and the hard work of solitary music production - Oyvind Skjerdal, University of Oslo 15:00-15:30 (30min)

14:00 - 15:30 (1h30)

Recording popular music and global cultural diversity

C203

› PANEL - Mondes des studios et studios du monde : les fabriques sonores du Sud global - Vassili Rivron, UNICAEN - Emmanuelle Olivier, CNRS - Stéphane Costantini, EHESS - Nicolas Puig, Université Paris Cité - Amandine Pras, Univ. York 14:00-15:30 (1h30)

14:00 - 15:30 (1h30)

Recording as a text for analysis

C204

› PANEL - On the Methodology and Potentials of Musical Group Analysis (MGA) - André Doehring, University of Music and Performing Arts Graz - Kai Ginkel, Anton Bruckner Private University Linz - Eva Krisper, University of Music and Performing Arts Graz 14:00-15:30 (1h30)

15:30 - 16:00 (30min)

Coffee break

16:00 - 17:30 (1h30)

Recording practices, mediations and intermediaries

C109

› Between composer and arranger in the production of the first samba records. - Martha Ulhôa, Universidade Federal do Estado do Rio de Janeiro, IASPM Latin America 16:00-16:30 (30min)

› Re-professionalising the Australian music production workforce in the digital age - Rod Davies, Monash university 16:30-17:00 (30min)

› Singing From the Same Hymn Sheet? Contextualising the Lobbying of UK Music - Jacob Simmons, University of Liverpool 17:00-17:30 (30min)

16:00 - 17:30 (1h30)

Recording, rights and remuneration models

C106

› Recommodifying Québec's Musical Heritage: The case of ProgQuébec, Disques Mérite, and Other Independent Reissue Labels of Québec - Glen Bourgeois, Schulich School of Music [Montréal] 16:00-16:30 (30min)

› Music as a Service: B2B Streaming and the Platformization of Functional Music - Ryan Blakeley, Eastman School of Music 16:30-17:00 (30min)

› The artificial studio: redefining the rights in recorded music in a prosumer-driven industry - Rachael Drury, University of Liverpool 17:00-17:30 (30min)

16:00 - 17:30 (1h30)

Sound recording as an investigative technique or as writing

C110

› À l'écoute des fêtes : Le field recording et l'exploration des liens entre les fêtes undergrounds et leurs lieux - Charlet Brethomé, Université du Québec à Montréal 16:00-16:30 (30min)

› Sounding with the Archive Trouble - Stefanou Danae, School of Music Studies, Aristotle University of Thessaloniki - Ioannis Kotsonis, National Hellenic Research Foundation [Athens] 16:30-17:00 (30min)

› Recording Memory: Witness-Centered Music Production as a Method for Engaging with Holocaust Testimonies - Thomas Sebastian Köhn, Leuphana Universität Lüneburg 17:00-17:30 (30min)

16:00 - 17:30 (1h30)

Recording and gender studies

C111

› Recording women's music - Céline PRUVOST, Centre d'Etudes des Relations et Contacts Linguistiques et Littéraires - UR UPJV 4283 16:00-16:30 (30min)

› Keeping Records of Misogyny in Ireland: Feminist Resistance in Contemporary Popular Music - Laura Watson, National University of Ireland Maynooth 16:30-17:00 (30min)

› Imperfect traces: A DIY feminist archive recorded beyond the studio - Eva Matsigkou, PhD candidate at the School of Music Studies, Aristotle University of Thessaloniki, doctoral research fellow at the ERC MUTE at the National Hellenic Research Foundation 17:00-17:30 (30min)

16:00 - 17:30 (1h30)

Recording popular music and global cultural diversity

C113

› Recordings in local languages as a means of communication on the global market: Sting's recordings in Spanish and Portuguese 1987/88 - Christina Richter-Ibáñez, Hochschule für Musik und Darstellende Kunst Frankfurt 16:00-16:30 (30min)

› Sonic Landscapes of Belonging: Recording, Space, and Identity in Caribbean Musical Theatre - Ziqi Lin, Central Conservatory of Music, China 16:30-17:00 (30min)

› Is it recording that makes us reject the homogenization of popular music while appreciating its in absence? - Di Fang, Shanghai Conservatory of Music 17:00-17:30 (30min)

16:00 - 17:30 (1h30)

Recorded music as heritage in exhibitions and museums

C115

› Be Kind Rewind: The Importance of Sidewinder Tape Packs for UK Grime Histories - Alex De Lacey, Rijksuniversiteit Groningen 16:00-16:30 (30min)

› I'm Walkin' Here!: Experiencing New York City's Punk Scene through Bootleg Cassette Tapes - Sean Louis Peters, Cornell University [Ithaca] 16:30-17:00 (30min)

› L'album metal - une patrimonialisation récente à la Philharmonie de Paris - Corentin Charbonnier, Cités, Territoires, Environnement et Sociétés - Emilie RUIZ, IREGE / USMB, BETA / Université de Strasbourg 17:00-17:30 (30min)

16:00 - 17:30 (1h30)

Recording as a sound processing technique

C116

› Sampling and resampling in Bass music. A musicological perspective from the DAW - Baptiste Bacot, RITMO, University of Oslo 16:00-16:30 (30min)

› Listening through the Recorded Traces of the Haunted Ballroom: Acoustemologies of Sampling and Looping within Online Fandoms and The Caretaker's "Everywhere at the End of Time" (2016-19) - Chris Copley, New York University 16:30-17:00 (30min)

› Recording, Resampling, & Repurposing: The Case of Portishead and the Bristol Sound - Paul Harkins, Edinburgh Napier University - Ragnhild Brøvig, University of Oslo - Nick Prior, University of Edinburgh 17:00-17:30 (30min)

16:00 - 17:30 (1h30)

Recording in sound studies

C204

› PANEL - Resonant Recordings: Popular Music and Documenting (In)Justice - Áine Mangaoang, University of Oslo - Andy McGraw, University of Richmond, Virginia - Noah Krogsholm, University of Oslo - Ieva Gudaitytė, University of Oslo 16:00-17:30 (1h30)

16:00 - 17:30 (1h30)

Recording popular music and global cultural diversity

C203

› PANEL - Popular music geography and the brokering of national identity in Iceland - Tore Størvold, Norwegian University of Science and Technology - Kimberly Cannady, Victoria University of Wellington - Benjamin Lassauzet, Université Clermont Auvergne 16:00-17:30 (1h30)

18:00 - 21:00 (3h)

Cocktail - in partnership with Popular Music journal

Planning