Enregistrer les musiques populaires - Recording popular music

8:40 - 9:00 (20min)

Accueil

9:00 - 10:30 (1h30)

Pratiques, médiations et intermédiaires de l'enregistrement

C109

› 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)

Enregistrement et live, enregistrement et performance

C204

› PANEL – Electronic Liveness: Space, Technologies, Bodies - Frank Kimenai, Femke Vandenberg, Beate Peter, University of Groningen - Steve Taylor, Manchester Metropolitan University 09:00-10:30 (1h30)

9:00 - 10:30 (1h30)

Les enregistrements et leur réception

C116

› 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)

› Cause, baby, when I heard you... Kylie Minogue, iPod, and the Poetics/Aesthetics of Y2K Recorded Sound Data - Konrad Sierzputowski, University of Warsaw 10:00-10:30 (30min)

9:00 - 10:30 (1h30)

Enregistrement et intelligence artificielle

C106

› 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)

Enregistrement et diversité culturelle mondiale

C113

› 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)

L’enregistrement comme texte pour l’analyse

C110

› 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)

De l’enregistrement aux data et à la plateformisation

C111

› 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)

Dramaturgie et imaginaire dans le rock et le metal

C115

› “Live Your Life with a Battle Cry”: Recording Fantasy Worlds in Saberlight Chronicles by Fellowship (2022) - Thales Reis Alecrim, Research Centre for Communication and Culture, Catholic University of Portugal (UCP), IASPM Portugal 09:00-09:30 (30min)

› « Another thing comin' » – La dramaturgie de la musique metal comme une circulation entre enregistrement et live - NICOLAS WAGNER, Université Sorbonne Nouvelle - Paris 3 - Département : Institut d'Etudes Théâtrales 09:30-10:00 (30min)

› Addressing and representing the audience in arena rock: authority and deference in recorded and live music - Marion Brachet, Université Sorbonne Nouvelle / IRMÉCCEN 10:00-10:30 (30min)

9:00 - 10:30 (1h30)

L’enregistrement et les études de genre

C203

› 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)

Pause café

11:00 - 11:45 (45min)

Conférence plénière : The Power of the Erotic in Dancing as an Experience of Recording and Unrecording Embodiment

Amphithéâtre

Amparo Lasen

11:45 - 12:30 (45min)

Conférence plénière : Love Songs in the Liminosphere: On Hearing the More-than-Human in Popular Music

Amphithéâtre

Dylan Robinson & Martin Daughtry

12:30 - 14:00 (1h30)

Déjeuner

14:00 - 15:30 (1h30)

Le studio d’enregistrement et ses différents formats

C115

› Neutral and imaginary spaces: the transformation of recording studios and their impact on Spanish record productions in the 1970s. - Marco Antonio Juan de Dios Cuartas, Universidad Complutense de Madrid = Complutense University of Madrid [Madrid] 14:00-14:30 (30min)

› Wired Ancestrality: The Sonic Journey of Recording the Capoeira Angola Group Estrela do Norte - De Souza Caio, Universidade do Estado do Amapá 14:30-15:00 (30min)

› Music Production in the Margins: Towards a Definition of Techno-Colonialism in the Virtual Recording Studio - África González Alonso, Universidad Complutense de Madrid = Complutense University of Madrid [Madrid], SonoLAB UCM 15:00-15:30 (30min)

14:00 - 15:30 (1h30)

Usages des enregistrements et pratiques de danse

C204

› PANEL - Recording and Unrecording Gender through Dance - Amparo Lasen, Universidad Complutense de Madrid - Sara Armada Díaz, University of Granada - Teresa López Castilla & Sílvia Martínez, Universitat Autònoma de Barcelona 14:00-15:30 (1h30)

14:00 - 15:30 (1h30)

Texte, musique et image

C109

› 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)

L’enregistrement comme texte pour l’analyse

C110

› 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)

Les enregistrements et leur réception

C116

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

› Playlisting the City: Genre, City Pop, and the Aural Politics of Personal Playlists in Contemporary Seoul - Cody Black, Duke university 14:30-15:00 (30min)

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

14:00 - 15:30 (1h30)

Enregistrement et diversité culturelle mondiale

C113

› 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)

› Reissuing Pee Froiss's Wala Wala Bok?: Exploring the Legacy of Senegalese Hip Hop - Samuel Lamontagne, UCLA, History 15:00-15:30 (30min)

14:00 - 15:30 (1h30)

Enregistrement et intelligence artificielle

C106

› 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)

L'enregistrement comme média

C203

› 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)

Ludomusicologie

C111

› 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)

15:30 - 16:00 (30min)

Pause café

16:00 - 17:30 (1h30)

Pratiques, médiations et intermédiaires de l'enregistrement

C109

› 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)

› The ‘Return of Django': the record as a doorway into early reggae cultures - Benjamin Torrens, Birmingham City University 16:30-17:00 (30min)

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

16:00 - 17:30 (1h30)

Enregistrement et diversité culturelle mondiale

C203

› 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)

Lien avec les sound studies

C204

› 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)

L'enregistrement comme média

C110

› Rococo-style Vocals and Multitrack Recording Practice: Mariah Carey's Studio Performance in Butterfly - 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 - 17:30 (1h30)

De l’enregistrement aux data et à la plateformisation

C115

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

› Digital Transformation and the Impact of Streaming on Popular Music in Emerging Markets - Ofochebe Kenechukwu Obinna, University of Agder 16:30-17:00 (30min)

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

16:00 - 17:30 (1h30)

L’enregistrement et les études de genre

C111

› Enregistrement comme tactique de (re)existence: pratiques de compositrices de la capitale du Brésil - Ana Leitão, Leitão 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)

Enregistrement et intelligence artificielle

C106

› 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)

Les enregistrements et leur réception

C116

› “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)

Enregistrement et live, enregistrement et performance

C113

› 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)