09:00
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11:00
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15:00
16:00
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21:00
›9:00 (45min)
9:00 - 9:45 (45min)
Registration
Distribution of badges
›9:45 (30min)
9:45 - 10:15 (30min)
Opening ceremony
Words of welcome from the organising team and the IASPM executive committee
›10:15 (45min)
› Amphithéâtre
10:15 - 11:00 (45min)
Keynote session: Recording Music: Saving It, or Making It?
Amphithéâtre
Antoine Hennion
›11:00 (15min)
11:00 - 11:15 (15min)
Break
›11:15 (45min)
Keynote session: Sampling’s AH, AHA, and HAHA: Perspectives on aesthetic, political, and humorous aspects of sampling
Ragnhild Brøvig
Ragnhild Brøvig
› Amphithéâtre
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 (30min)
The RILM Archive of Popular Music Magazines: An Introduction to a New Research Tool
Tina Frühauf, Executive Director Répertoire International de Littérature Musicale (RILM); Beatriz Goubert, RAPMM Product Coordinator; Lindsey Eckenroth, RAPMM Associate Coordinator
Tina Frühauf, Executive Director Répertoire International de Littérature Musicale (RILM); Beatriz Goubert, RAPMM Product Coordinator; Lindsey Eckenroth, RAPMM Associate Coordinator
› Amphithéâtre
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 (1h30)
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 (30min)
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
