Enregistrer les musiques populaires - Recording popular music

8:40 - 9:00 (20min)

Welcome

9:00 - 10:30 (1h30)

Recording practices, mediations and intermediaries

C109

Jacob Simmons

› Piero Umiliani at the Sound Work Shop Studio: Recording and Exploiting Music in the 1960s and 1970s Italian Media Landscape - Niccolò Galliano, Università degli Studi di Milano = University of Milan 09:00-09:30 (30min)

› The Transition from Musicians to Independent Producers and Studio Owners in Spanish Rock Music Since 1980 - Pablo Espiga, Universidad Complutense de Madrid = Complutense University of Madrid [Madrid] 09:30-10:00 (30min)

› Windows onto a Radio City - Richard Anderson, University of Liverpool, Institute of Popular Music - Nina Himmelreich, University of Liverpool, Institute of Popular Music 10:00-10:30 (30min)

9:00 - 10:30 (1h30)

Recordings and their reception

C116

Christophe Pirenne

› Jungle as Post-Rave - Angus Maclaurin, Royal Melbourne Institute of Technology 09:00-09:30 (30min)

› Les traces des émotions dans les concerts de Mylène Farmer - Isabelle Marc, Universidad Complutense de Madrid 09:30-10:00 (30min)

› « Another thing comin' » – Circulation between recording and live in the dramaturgy of metal music - Nicolas Wagner, Université Sorbonne Nouvelle - Paris 3 - Département : Institut d'Etudes Théâtrales 10:00-10:30 (30min)

9:00 - 10:30 (1h30)

Recording and artificial intelligence

C106

Serge Lacasse

› Digitally Augmented Guitar Tablatures as Pseudo-Recordings of popular music compositions - Alexandre D'Hooge, Centre de Recherche en Informatique, Signal et Automatique de Lille - UMR 9189 09:00-09:30 (30min)

› Tin Pan AI. Re-Engineering the Compositional and Producing Logic of commercial Music GAI (Generative Artificial Intelligence) via (Phono)musicological Analysis and Experimental Prompting - Sebastian Schwesinger, Martin-Luther-Universität Halle-Wittenberg - Alan Van Keeken, Martin-Luther-Universität Halle-Wittenberg 09:30-10:00 (30min)

› Voice of the Past, Sound of the Future: Legal and Industry Implications of Generative AI in Music - Patryk Galuszka, University of Lódź = Uniwersytet Łódzki 10:00-10:30 (30min)

9:00 - 10:30 (1h30)

Recording popular music and global cultural diversity

C113

Michaël Spanu

› Entangled between hardware and software infrastructure: Assamese Popular music making in studios in Guwahati, Assam - Gogoi Dishanka, University of California, Merced 09:00-09:30 (30min)

› Masterpieces Produced under Abnormal Conditions: Korean Pop Records in 1973 - Hyunjoon Shin, Sungkonghoe University 09:30-10:00 (30min)

› Pop-Rock and the Global Transformation of Musicking - Motti Regev, The Open University of Israel 10:00-10:30 (30min)

9:00 - 10:30 (1h30)

Recording as a text for analysis

C110

Barbara Lebrun

› The Tension Between Text and Perspective: Re-Examining Progressive Rock's Narrative Complexity through The Wall - Xiaodan Zhang, Shanghai Conservatory of Music 09:00-09:30 (30min)

› The 'Grace Jones Sound' on and off the record - Isaac Milhofer, The University of Manchester 09:30-10:00 (30min)

› Sleater-Kinney's Dig Me Out and the Poetics of the Studio - Asbjorn Gronstad, University of Bergen 10:00-10:30 (30min)

9:00 - 10:30 (1h30)

From recording to data and streaming platforms

C111

John Mullen

› La playlist numérique comme dispositif de subjectivation : pour une poétique du commissariat - Stéphane Girard, Université de Hearst 09:00-09:30 (30min)

› Subjectivity, Culture and the Datafication of Music - David Hesmondhalgh, University of Leeds 09:30-10:00 (30min)

› Sound Bias: the impact of Spotify's royalty distribution policy on listener consumption patterns - Gordon Dimitrieff, Antwerp Management School 10:00-10:30 (30min)

9:00 - 10:30 (1h30)

Recording and gender studies

C203

Florence Tamagne

› PANEL - "J'ai Deux Amours”: Recording Pop Music's Queer Articulations - Alyxandra Vesey, University of Alabama - Amy Skjerseth - Sam Murray 09:00-10:30 (1h30)

10:30 - 11:00 (30min)

Coffee break

11:00 - 11:45 (45min)

Keynote session: The Power of the Erotic in Dancing as an Experience of Recording and Unrecording Embodiment [chair: Christophe Pirenne] Streaming link: https://youtube.com/live/HLMT_g4omTA

Amphithéâtre 500

Amparo Lasén - Universidad Complutense de Madrid

11:45 - 12:30 (45min)

Keynote session: Love Songs in the Liminosphere: On Hearing the More-than-Human in Popular Music [chair: Samantha Bennett] Streaming link: https://youtube.com/live/HLMT_g4omTA

Amphithéâtre 500

Dylan Robinson & Martin Daughtry (Univerisity of British Columbia/New York University)

12:30 - 14:00 (1h30)

Lunch

12:45 - 14:00 (1h15)

Meet with editors - room B010

A specific moment to meet editors of the journals represented during the week in the Bookroom: Intellect books journals (Journal of Live Music Studies, Journal of Music Production Research, advances in Metal Studies and Culture book series), Volume!, Audimat, to learn more about how to contribute as authors to this popular music studies peer-reviewed journals.

14:00 - 15:30 (1h30)

Lyrics, music and images

C109

Jason Julliot

› The Imagined Things: On Solange, Repetition and Mantra - Kwame Phillips, University of Southampton 14:00-14:30 (30min)

› From Coldplay to Purcell: Music Videos as a Bridge Between Classical and Popular Music - Kyung Young Chung, Hanyang University 14:30-15:00 (30min)

› The Role of Popular Music in the Marvel Cinematic Universe: Guardians of the Galaxy (2014) - Martín Carla, Universidad de Oviedo = University of Oviedo 15:00-15:30 (30min)

14:00 - 15:30 (1h30)

Recording as a text for analysis

C110

John Mullen

› How We're Hooked: A Framework for Analysing Hooks in Pop Music - Jadey O'Regan, University of Sydney - Tim Byron, University of Wollongong 14:00-14:30 (30min)

› The unknown details in the song 'Yesterday' by the Beatles - Jan Hemming, University of Kassel 14:30-15:00 (30min)

› Neoriemannian interpretations of Chano Domínguez's improvised solos: Jazz and Flamenco in dialogue - Rosa María García Mira, Universidad Complutense de Madrid 15:00-15:30 (30min)

14:00 - 15:30 (1h30)

Recordings and their reception

C116

Justin Williams

› Listening Again to Echo: The Aesthetics of Pop and British Postwar Anxieties - Matthew Ord, Newcastle University [Newcastle] 14:00-14:30 (30min)

› The reception and performance of recorded music in queer women's clubs - Katherine Griffiths, Royal Holloway [University of London] 14:30-15:00 (30min)

› Seeing reggaeton through the lenses of Spanish music criticism - Marina Arias Salvado, Universidad Complutense de Madrid = Complutense University of Madrid [Madrid] 15:00-15:30 (30min)

14:00 - 15:30 (1h30)

Recording popular music and global cultural diversity

C113

Claude Chastagner

› Records of a different sounding Peruvian past. Domestic reissue labels as decolonial options. - Agustina Checa, Lehman College [CUNY] 14:00-14:30 (30min)

› The fandango and safeguarding with Papagaio Loro Records - Ana Paula Coelho, Ana Paula dos Santos Coelho, UNESPAR 14:30-15:00 (30min)

› “Staying all true to the borough”? Hip-Hop heritage, tourism and urban change in New York - Séverin Guillard, Habiter le Monde - UR 4287 15:00-15:30 (30min)

14:00 - 15:30 (1h30)

Recording and artificial intelligence

C106

Serge Lacasse

› Who owns this Voice? The Afterlife of Singers in the Age of Generative Technology - Ginger Dellenbaugh, The New School 14:00-14:30 (30min)

› Sakamoto of Bits and Pieces: Recordings as the Material That Musicians Are Made of - Oliver Seibt, University of Amsterdam 14:30-15:00 (30min)

› Towards an Aesthetics of Digital Emotion: Examining Emotion in AI Music Composition Process - Emmie Head, UCLA Department of Musicology, IASPM-US 15:00-15:30 (30min)

14:00 - 15:30 (1h30)

Recording as a medium

C203

Samantha Bennett

› PANEL - International networks of national(-ist) music culture: Intermediaries of popular music recording during the Nazi regime - Jose Galvez, Universität Bonn = University of Bonn, Universität Greifswald - University of Greifswald - Franziska Kollinger, Universität Greifswald - University of Greifswald - Sean Prieske, Paris-Lodron-Universität Salzburg = Paris-Lodron-University of Salzburg 14:00-15:30 (1h30)

14:00 - 15:30 (1h30)

Ludomusicology

C111

Eric Smialek

› From Fandom to Brandom: The Commodification of UGC in Video Games - Febrer Coll Eulalia, Universidad Internacional de la Rioja 14:00-14:30 (30min)

› Composing the music of video games: Negotiating a complex technological and sociocultural environment of popular music - Yngvar Kjus, University of Oslo, Department of Musicology - Fabian Stordalen, University of Oslo, Department of Musicology 14:30-15:00 (30min)

› A Different Kind of Recording: Preserving, Emulating and Analysing Early Video Game Music - Mattia Merlini, Università degli Studi di Milano = University of Milan 15:00-15:30 (30min)

14:00 - 15:30 (1h30)

Recording as a medium

C204

David-Emil Wickström

› PANEL - Ukrainian Popular Music in Times of War: National Identity, LGBTQ+ Representation, and International Projections - Marco Biasioli, University of Manchester - Glew Anna, University of Liverpool - Shuvalova Iryna, University of Oslo 14:00-15:30 (1h30)

15:30 - 16:00 (30min)

Coffee break

16:00 - 17:30 (1h30)

Recording practices, mediations and intermediaries

C109

Oded Erez

› How Storage Conventions Shape Creativity, Collaboration, and New Works: Preliminary Findings from an Ethnographic Analysis of Music Studios - Taylor Price, New York University 16:00-16:30 (30min)

› Beyond Representation: Fabricating Immediacy in Recent Pop Songs - Caleb Herrmann, University of Chicago 16:30-17:00 (30min)

› On the Record: Talking about Vinyl and Its Role in Wellington's Urban Imaginary - Geoff Stahl, Victoria University of Wellington 17:00-17:30 (30min)

16:00 - 17:30 (1h30)

Recording popular music and global cultural diversity

C203

Xiaodan Zhang

› PANEL - Recording and Records in the Chinese Popular Music Scene: From the (Re)Appropriation of Foreign Rubbish to Global Export - Nathanel Amar, The University of Hong Kong - Grégoire Bienvenu, Institut de Recherche Médias, Cultures, Communication et Numérique - Lei Peng, University of Liverpool 16:00-17:30 (1h30)

16:00 - 17:30 (1h30)

Recording in sound studies

C204

Amy Coddington

› PANEL - The Fairlight CMI: History, Technology, Ideology - Samantha Bennett, The Australian National University - Paul Harkins, Edinburgh Napier University - Leah Kardos, Kingston University [London] - Manuella Blackburn, Keele University [Keele] 16:00-17:30 (1h30)

16:00 - 17:30 (1h30)

Recording as a medium

C110

Jedediah Sklower

› Vocal Persona and Multitrack Narratives in Butterfly: A Study of Mariah Carey's Studio Vocal Design - Jinhao Liu, Shanghai Conservatory of Music 16:00-16:30 (30min)

› "Vocalese as Mediation: Reinterpreting Recorded Music from Miles Davis to Michael Mayo" - Ellie Martin, University of Toledo 16:30-17:00 (30min)

› Implementation of “salience” in music analysis assignments - Sirman Berk, Dalarna University, Stockholm University 17:00-17:30 (30min)

16:00 - 17:00 (1h)

From recording to data and streaming platforms

C115

Massimiliano Raffa

› Engineered inequity: Music streaming taxonomies as ruinous infrastructure - CAMPOS VALVERDE Raquel, University of Leeds 16:00-16:30 (30min)

› Exploring the creative autonomy of afrobeats artists in the music streaming era - Laura Etemah, University of Groningen [Groningen] 16:30-17:00 (30min)

16:00 - 17:30 (1h30)

Recording and gender studies

C111

Céline Pruvost

› Enregistrement comme tactique de (re)existence: pratiques de compositrices de la capitale du Brésil - Ana Leitão, Université de Brasília 16:00-16:30 (30min)

› Laura Sisk and the Sound of Female Pop Empowerment - Christa Bentley, University of Arkansas [Fayetteville] 16:30-17:00 (30min)

› Resisting definition: Subverting gender narratives through vocal manipulation software - Ashley Stein, Edinburgh Napier University 17:00-17:30 (30min)

16:00 - 17:30 (1h30)

Recording and artificial intelligence

C106

Patryk Gałuszka

› Can AI Prompt a Revolution in Master Rights Ownership? - Richard Osborne, University of Glasgow 16:00-16:30 (30min)

› From recorded sound to generated sound: a consideration of ontology and practices of popular music production with generative audio artificial intelligence - Lorenz Gilli, University of Siegen = Universität Siegen [Siegen] 16:30-17:00 (30min)

› “It does the science for you” – Machine listening and personalization in music production - Max Alt, Universität Bonn = University of Bonn 17:00-17:30 (30min)

16:00 - 17:30 (1h30)

Recordings and their reception

C116

Guillaume Clément

› “With recording, it was emancipation for the people”. About eye and ear in popular music discourse - Bernhard Steinbrecher, Leopold Franzens Universität Innsbruck - University of Innsbruck 16:00-16:30 (30min)

› La circulation et les écoutes du choro à travers la radio et le disque - Lúcia Campos, UEMG 16:30-17:00 (30min)

› The epic and the eclectic: the sound of contemporary progressive rock - Ivan Tan, Brown University 17:00-17:30 (30min)

16:00 - 17:30 (1h30)

Recording and liveness, recording and performance

C113

Antoine Simms

› Reimagining Broadway With Live Television: A Case Study of The Wiz Live! - Ye Rin Kang, University of Edinburgh 16:00-16:30 (30min)

› Filmer le rock pour la télévision : entre enregistrement sonore et tournage live - Maxime Guebey, Centre d'études supérieures de la Renaissance UMR 7323 16:30-17:00 (30min)

› Cape Town Sinatras: Enlivened Recordings and Critical Nostalgia in Postapartheid Performance - Francesca Inglese, Northeastern University 17:00-17:30 (30min)