Enregistrer les musiques populaires - Recording popular music

8:40 - 9:00 (20min)

Welcome

9:00 - 10:30 (1h30)

Recording practices, mediations and intermediaries

C109

› “A tale of three cities”. Italian recording studios in the analogue era (1965-1999): formats, practices and mediations. - Francesco Brusco, Università degli Studi di Pavia = University of Pavia 09:00-09:30 (30min)

› The ‘buzz' and the album as a visiting card: how cultural intermediation shapes the promotion of artists in two different music subfields - Pedro Belchior Nunes, Institute of Ethnomusicology - New University of Lisbon 09:30-10:00 (30min)

› Towards a Practice-Based Popular Musicology for Record Production - Ingvild Koksvik, University of Agder 10:00-10:30 (30min)

9:00 - 10:30 (1h30)

Recording and artificial intelligence

C106

› Music Production and the Impacts of Artificial intelligence: Redefining Creativity and Efficiency in the Recording Studios - Ruzbeh Smiley, University of Agder 09:00-09:30 (30min)

› "Cutting-Edge, capital-efficient content creation opportunities": Music industry culture in the age of generative AI - CAMPOS VALVERDE Raquel, University of Leeds - D. Bondy Valdovinos KAYE, University of Leeds 09:30-10:00 (30min)

› Methodological Approaches to AI Music Platformization - Avdeeff Melissa, University of Stirling 10:00-10:30 (30min)

9:00 - 10:30 (1h30)

Masculinities

C111

› Rapports de genre, authenticité et expression d'une pluralité de masculinités : étude de cas de l'enregistrement de l'album Aequanimitas (2024) - Zénaïde Berg, Université de Montréal - Christophe Jbeili, Université du Québec à Montréal = University of Québec in Montréal 09:00-09:30 (30min)

› The Recording Industry ‘Boys Club' - Goodwin Grace, IASPM, University of Liverpool 09:30-10:00 (30min)

› In bitter pink: indie and masculinity in Los Bichos alternative rock - Sara Arenillas Meléndez, Lecturer / Assitant Professor in Music, Universidad de La Laguna [Tenerife - SP] 10:00-10:30 (30min)

9:00 - 10:30 (1h30)

Recorded music as heritage in exhibitions and museums

C115

› Films and/as Records: Popular Recordings and Pre-Soundtrack-Era Cinema - Mary Celeste Kearney, University of Notre Dame [Indiana] 09:00-09:30 (30min)

› Displaying recorded music as a cultural artefact in UK museums - Jamie Johnson, University of West London 09:30-10:00 (30min)

› In these hallowed halls: Recording studios as sites of musical heritage - Christina Ballico, University of Aberdeen 10:00-10:30 (30min)

9:00 - 10:30 (1h30)

Recording and liveness, recording and performance

C116

› ‘Live Heritage' and the Legacy of ‘Orchestronic' Music at the Proms EDM-event in Super-club culture - Zoe Armour, Research Associate of the Media Discourse Centre, at De Montfort University [Leicester, United Kingdom] 09:00-09:30 (30min)

› The Evolution of Program Music (PGM) in Taiwan's Live Music Scene: Aesthetics, Authenticity, and Practice - YuanYen Hsu, IASPM international, National Taiwan University 09:30-10:00 (30min)

› “Meat Grinder”: Performing Experimental Hip-Hop - Alex Stevenson, Leeds Beckett University - Ragnhild Brøvig, University of Oslo 10:00-10:30 (30min)

9:00 - 10:30 (1h30)

Recording and the music economy

C203

› PANEL - Recording rock indé: independent music and public policies in France since 1989 - Marc Kaiser, Centre d\'études sur les médias, les technologies et línternationalisation, Mémoire du CIR et de l'IRMA - Romain Bigay, Mémoire du CIR et de l'IRMA, Dispositifs d'Information et de Communication à l'Ère du Numérique - Paris Île-de-France - Fernand Estèves, Mémoire du CIR et de l'IRMA, Institut de Recherche Médias, Cultures, Communication et Numérique - Gilles Castagnac, Mémoire du CIR et de l'IRMA - Jean-Noël Bigotti, Mémoire du CIR et de l'IRMA 09:00-10:30 (1h30)

9:00 - 10:30 (1h30)

Recording popular music and global cultural diversity

C204

› PANEL - Music Heritage, Migration and Identity - Sara Cohen, Lisa Shaw, Richard G Smith, Jacqueline Waldock, Abigail Gardner 09:00-10:30 (1h30)

9:00 - 10:30 (1h30)

Recording as a sound processing technique

C113

› Recording Ñanda Mañachi: Towards a typology of Chopin Thermes's mobile studio - Osejo Carlos, Universidad Complutense de Madrid = Complutense University of Madrid [Madrid] 09:00-09:30 (30min)

› Imagination Machines? - Music Production, Automation and the Creative Misuse of Audio Technology - Thomas Morris, Kingston University [London] 09:30-10:00 (30min)

› Towards an interface theory of digital audio workstations - Emil Kraugerud, University of Oslo 10:00-10:30 (30min)

9:00 - 10:00 (1h)

From recording to data and streaming platforms

C110

› Self-Brand or Be Branded Out: The Convergence of Mainstream and Independent Talent Scouting Under Platform Capitalism - Raffa Massimiliano, University of Insubria 09:00-09:30 (30min)

› On Recording and Redistributing Generic Multiplicity: Genre Formation and Functioning in the Realm of Online Platforms - Mads Krogh, School of Communication and Culture, Aarhus University 09:30-10:00 (30min)

10:30 - 11:00 (30min)

Coffee break

11:00 - 11:45 (45min)

Keynote session: Sounding a Queer Rebellion: Recording as activism and social resistance in Latin America

Amphithéâtre

Fiorella Montero-Diaz

11:45 - 12:30 (45min)

Keynote session: What Am I Missing? – recordings as schematic representations

Amphithéâtre

Simon Zagorski-Thomas

12:30 - 14:00 (1h30)

Lunch

14:00 - 15:30 (1h30)

Recording as a medium

C109

› João Gilberto et Chega de saudade: l'avènement du vynile LP et l'évolution de la musique populaire brésilienne - Cláudia De Matos, Universidade Federal Fluminense 14:00-14:30 (30min)

› TTV Test Card Music from 1966 to 1968: A Preliminary Study on the Legitimacy and Canonization of Music in Taiwan - DAMIEN CHEN, Tainan National University of the Arts 14:30-15:00 (30min)

› The Uncertain Journey from Recording to Publication: A Case Study of Chinese Rapper KeyNG - Wuyi Zhang, School of Music, Jianghan University 15:00-15:30 (30min)

14:00 - 15:30 (1h30)

Uses of recordings and dance practices

C110

› Sound Methods for a New World: Participatory and Co-Creative Methods in Electronic Dance Music Research - Luis Manuel GARCIA-MISPIRETA, University of Birmingham [Birmingham] 14:00-14:30 (30min)

› From Giordano to Jazzercise: Records, repeated long play, and physical education - Tim Anderson, Old Dominion University [Norfolk] 14:30-15:00 (30min)

› Sounding Cosmopolitan Modernity at the Magic-City “Palais du Tango” - Benn Sophie, Butler University 15:00-15:30 (30min)

14:00 - 15:30 (1h30)

Recording and liveness, recording and performance

C111

› Does live music matter? - Daniel Hagan, University of West London 14:00-14:30 (30min)

› Recording the Messy Heart of the Human Voice; Defending the Singer in the Age of AI - Jacqueline Amidy, Macquarie University [Sydney] 14:30-15:00 (30min)

› Drummer Fingerprints: Microtiming and Tempo Variability in Studio and Live Recordings - David Carter, Loyola Marymount University - Ralf Von Appen, mdw-Vienna 15:00-15:30 (30min)

14:00 - 15:30 (1h30)

Recording as a sound processing technique

C106

› Recording Studios: The Techno-Artistic Nexus - Exploring the Materiality and Mediated Construction of Music Production - Miaotong Yuan, School of Music and Recording Arts, Communication University of China 14:00-14:30 (30min)

› Listening for Loudness: Amplification Effects in Studio and Live Performance - Steve Waksman, University of Huddersfield 14:30-15:00 (30min)

› Virtuoso Double-Tracking in the Music of Frank Zappa - Brett Clement, Ball State University 15:00-15:30 (30min)

14:00 - 15:30 (1h30)

The recording studio and its different formats

C115

› Global Studios and Audiotopias: Facilitating Liberatory Spaces in Remote Ensemble Recordings - Emily Evans, California Institute of the Arts 14:00-14:30 (30min)

› Entre enjeux locaux et défis globaux : état des lieux des studios d'enregistrement à Liège (Belgique) - Chloé Violle, Université de Liège 14:30-15:00 (30min)

› The Presentation and Performance of Nashville Recording Studios - Robbie Fry, Vanderbilt University 15:00-15:30 (30min)

14:00 - 15:30 (1h30)

Recording in sound studies

C116

› Sonic Air-Conditioning: Towards a Climatology of Recorded Background Music in South Africa - Willemien Froneman, Stellenbosch University 14:00-14:30 (30min)

› Echoes of the Past: Reverb and the Construction of Sonic Space - Benjamin DuPriest, Georgia State University 14:30-15:00 (30min)

› “Use This Sound”: Audio Ontologies in the Short-Form Video Ecosystem - Paula Harper, University of Chicago 15:00-15:30 (30min)

14:00 - 15:30 (1h30)

Recording as a medium

C203

› PANEL - Recording French reggae dub - Alix Bénistant, Laboratoire des Sciences de lÍnformation et de la Communication - Marc Kaiser, Centre d'études sur les médias, les technologies et l'internationalisation - Jean-Christophe Sevin, Centre Norbert Elias 14:00-15:30 (1h30)

14:00 - 15:30 (1h30)

Recording and the music economy

C204

› PANEL - What's upstream from streaming platforms? Music, finance, and value - D. Bondy Kaye, University of Leeds - Brian Fauteux, University of Alberta - Andrew DeWaard, University of California 14:00-15:30 (1h30)

14:00 - 15:30 (1h30)

Recording popular music and global cultural diversity

C113

› Borrowed Music and Dance, Borrowed Indigeneity: Exploring "Internal Orientalism" in Transnational Music Transplantation through Mountain Cultural Villages and Sightseeing Recordings in Taiwan - Xin-Yi Wei, Assistant Professor, Traditional Music Department, Taipei National University of the Arts 14:00-14:30 (30min)

› Across the Break: Recording Formats and Black Spatial Practices - Jennifer Messelink, University of Victoria [Canada] 14:30-15:00 (30min)

› Who Gets to Record? The interplay of performance and recording of Cuban music in Paris 1930s to 1960s - Sue Miller, Leeds Beckett University 15:00-15:30 (30min)

15:30 - 16:00 (30min)

Coffee break

16:00 - 17:30 (1h30)

Recordings and their reception

C106

› Accents and dialects in 1980s popular music: a sociophonetic and experimental perspective - Coline Caillol, Centre de Linguistique Inter-langues, de Lexicologie, de Linguistique Anglaise et de Corpus 16:00-16:30 (30min)

› Affective Lisping in Contemporary Popular Music Recording - Anthony Harrison, Virginia Tech [Blacksburg] 16:30-17:00 (30min)

› Enunciation, or the Place of Record: A Theory of the Phonographic Shot and the Point of Listening - Marino Gabriele, Università degli studi di Torino = University of Turin 17:00-17:30 (30min)

16:00 - 17:30 (1h30)

Recording and the music economy

C109

› From National Stage to International Market: the role of record labels in Eurovision's history - Vieira Lopes Sofia, Ethnomusicology Institute, FCSH NOVA Lisbon 16:00-16:30 (30min)

› Segregation and record consumption: buying old-time music and race music in record stores (US, 1920s) - Manuel Bocquier, École des hautes études en sciences sociales 16:30-17:00 (30min)

› Trot Record: A Populist Medium? - Keewoong Lee, Institute for East Asian Studies, SungKongHoe University 17:00-17:30 (30min)

16:00 - 17:30 (1h30)

Recording as a medium

C110

› Digital Technology, Musical Pleasure and Fascist Fantasy in the Postliberal Age - Nadav Appel, Sapir Academic College, Bar-Ilan University [Israël] 16:00-16:30 (30min)

› Recordings as Media of Memory: Listening to Marginalized Voices after Far-Right Violence - Monika E. Schoop, Leuphana University Lüneburg 16:30-17:00 (30min)

› Reframing the history of rock: The first reception of rock and roll in Spain (1956-1963) - Iván Iglesias, Universidad de Valladolid [Valladolid] 17:00-17:30 (30min)

16:00 - 17:30 (1h30)

Recording popular music and global cultural diversity

C113

› Recording the ‘True Voice' of the Scottish People: The School of Scottish Studies - Héloïse Cornelius, Centre d'histoire de Sciences Po (Sciences Po) 16:00-16:30 (30min)

› Backing into the Future: Recording Irish Folk Music - Stan Erraught, University of Leeds 16:30-17:00 (30min)

› The Community Recording Studio: Democratization and Diversity in Popular Music Production - Pat OGrady, Australian National University 17:00-17:30 (30min)

16:00 - 17:30 (1h30)

Home studios

C115

› Approaching the Home Studio as a Professional Workspace: Challenges and Rewards for Independent Musicians - 16:00-16:30 (30min)

› Bedroom production and girlhood – from Billie Eilish's home studio to teenage girls on TikTok - Veronika Muchitsch, Södertörn University 16:30-17:00 (30min)

› The Sound of Home: intention, genre and process, the artist's view - Paula Wolfe, London College of Music, University of West London 17:00-17:30 (30min)

16:00 - 17:30 (1h30)

From recording to data and streaming platforms

C116

› Impact of Digitalization in Distribution of Music in Spain - Neval Turhalli, Universitat Oberta de Catalunya [Barcelona] 16:00-16:30 (30min)

› From Myspace to Spotify: New Market Challenges for Portuguese Indie Labels - Luiz Alberto Moura, Universidade do Minho = University of Minho [Braga] 16:30-17:00 (30min)

› The Research on the Interaction between China's Music Streaming Platforms and Self-Releasing Musicians under the Perspective of Digital Capitalism - Yingzixuan Zhang, Communication University of China - Mengle Liao, Communication University of China - Zhian Zhao, Communication University of China 17:00-17:30 (30min)

16:00 - 17:30 (1h30)

Recording as a medium

C203

› PANEL - Filipino Perspectives on Camaraderie in Evolving Popular Music Culture, Recorded Sound as Cinematic Text, and Posthuman Reflections on Manic and Raw Music Performance - Jose Buenconsejo, University of the Philippines Diliman - Crisancti Macazo, Centro Escolar University - Lara Mendoza, Ateneo de Manila University 16:00-17:30 (1h30)

16:00 - 17:30 (1h30)

Recording and liveness, recording and performance

C204

› PANEL - Mapping Ecologies of Recorded and Live Music Sectors: Geographies and Methodologies - Adam Behr, Newcastle University [Newcastle] - Patrycja Rozbicka, Aston University - Mathew Flynn, University of Liverpool - Richard Anderson, University of Liverpool - Martin Nicastro, Università degli Studi di Pavia = University of Pavia 16:00-17:30 (1h30)

16:00 - 17:30 (1h30)

How does the CNM (National Music Center) observe and study the French music industry?

C111

Théophile Megali - directeur des études, Centre National de la Musique