Enregistrer les musiques populaires - Recording popular music

8:30 - 8:45 (15min)

Accueil

8:45 - 10:15 (1h30)

Enregistrements et politiques

C115

Sébastien Lebray

› Rock In Opposition: bringing together ideology and aesthetics in the recording studio - Jacopo Costa, ACCRA 08:45-09:15 (30min)

› “Not a tank, but a Recreational Utility Vehicle” The use of popular music by the conflict partners' armies in the ongoing Russian war on Ukraine - David-Emil Wickström, Popakademie Baden-Württemberg 09:15-09:45 (30min)

› The rebellion power of pop - An exploration of popular music in Hong Kong during abeyance after 2019 movement - Sharon Lam, University of Leeds 09:45-10:15 (30min)

8:45 - 10:15 (1h30)

Enregistrement et économie de la musique

C203

› PANEL - Recording at the Intersection of Film Music and Popular Music: Patterns of Production, Consumption and Commodification in the Golden Age of Italian Cinema (1958-76) - Corbella Maurizio, Università degli Studi di Milano = University of Milan - Alessandro Bratus, Università degli Studi di Pavia = University of Pavia - Guglielmo Bottin, Alma Mater Studiorum Università di Bologna = University of Bologna - Alessandro Cecchi, University of Pisa - Università di Pisa - Giuliani Danieli, Università degli Studi di Milano = University of Milan - Martin Nicastro, Università degli Studi di Pavia = University of Pavia 08:45-10:15 (1h30)

8:45 - 10:15 (1h30)

Les enregistrements et leur réception

C204

› PANEL - Proposing, Writing and Editing for Bloomsbury's 33 1/3 Series - Samantha Bennett, The Australian National University - Fabian Holt, Roskilde Universitet [Roskilde] - C.C. McKee, Bryn Mawr College - Jacopo Tomatis, Università degli studi di Torino = University of Turin - Brooke Okazaki, Carleton College 08:45-10:15 (1h30)

8:45 - 10:15 (1h30)

L’enregistrement comme texte pour l’analyse

C116

Serge Lacasse

› Protecting Human Creativity in AI-Generated Music with the Introduction of an AI-Royalty Fund - Sabine Jacques, University of Liverpool - Mathew Flynn, University of Liverpool 08:45-09:15 (30min)

› First recordings of Punto cubano: sound recordings as a source of study - Amaya Carricaburu Collantes, Valencia International University 09:15-09:45 (30min)

› Les alternate takes comme répertoire d'analyse : organisation et méthodes compositionnelles dans Cold Sweat de James Brown - Guillaume Dupetit, Littératures, Savoirs et Arts - Kevin Dahan, Littératures, Savoirs et Arts 09:45-10:15 (30min)

8:45 - 9:45 (1h)

Pratiques, médiations et intermédiaires de l'enregistrement

C109

Héctor Fouce

› From Big Bands to Urban Emotional Staging: The Importance of Acoustic Space in Recording and Technological Shifts in Reggaeton Production in Medellín - Carlos Caballero, Institución Universitaria ITM 08:45-09:15 (30min)

› Fetishism and retro-technology in digital native music producers: Connections between Spain and Latin America - Carlos Caballero, Institución Universitaria ITM - Marco Juan de Dios Cuartas, Universidad Complutense de Madrid 09:15-09:45 (30min)

8:45 - 10:15 (1h30)

L’enregistrement et les études de genre

C111

Emmanuel Parent

› “Uncle Johnny Made My Dress”: Beyoncé, Renaissance, and Capitalization of Black Queer Cultures - Lauron Kehrer, Smith College 08:45-09:15 (30min)

› Silent No More: The Power of Women's Voices in Recordings of Local Traditions - Julia Escribano, Universidad de Valladolid 09:15-09:45 (30min)

› “¿Me sabrán disculpar si me pongo bélica?”: Empowerment, sexuality and deception according to Cazzu and La Joaqui - Guido Saa, Instituto de Investigaciones Gino Germani [Buenos Aires], Facultad de Ciencias Sociales [Buenos Aires] 09:45-10:15 (30min)

10:15 - 10:45 (30min)

Pause café

10:45 - 11:30 (45min)

Conférence plénière : Culture, Commerce, and Authenticity: Black British Recordings in Context [modératrice: Sue Miller] Streaming link: https://youtube.com/live/LVm4x5vvM48

Amphithéâtre 500

Mike Alleyne - Middle Tennessee State University

11:30 - 11:45 (15min)

Pause

11:45 - 13:15 (1h30)

L'enregistrement comme média

C203

José Gálvez

› PANEL - Recording(s) as Episteme. How sound carriers shape(d) Popular Music Studies at Humboldt University Berlin - Christina Dörfling, Humboldt University, Berlin - Penelope Braune, Humboldt University, Berlin - Christopher Klauke, Max Planck Institute for the History of Science 11:45-13:15 (1h30)

11:45 - 13:15 (1h30)

Pratiques, médiations et intermédiaires de l'enregistrement

C204

› PANEL - Cassette cultures in South America - Laura Jordan Gonzalez, Pontificia Universidad Católica de Valparaíso - Javier Rodríguez Aedo, Pontificia Universidad Católica de Valparaíso - Julio Mendívil, Universität Wien - Marita Fornaro, Universidad de la República 11:45-13:15 (1h30)

11:45 - 13:15 (1h30)

Joni Mitchell

C106

Leah Kardos

› "Lesson in Survival: Joni Mitchell Goes Her Own Way, Again" - Norma Coates, University of Western Ontario 11:45-12:15 (30min)

› ‘Part of you pours out of me...': Exploring Ageing, Vocal Autobiography and Collaboration in Joni Mitchell, Brandi Carlile and Annie Lennox's 'Joni Jams' Performances - Emma Longmuir, Newcastle University [Newcastle] 12:45-13:15 (30min)

› “Remixing ‘Marcie': Comparing Recordings of Joni Mitchell's Early Style” - Taylor Greer, Pennsylvania State University 12:45-13:15 (30min)

11:45 - 13:15 (1h30)

Les enregistrements et leur réception

C110

Marion Brachet

› The absence of music (recordings): Student responses to a ‘No Music Listening Challenge' - Rebecca Rinsema, Northern Arizona University [Flagstaff] 11:45-12:15 (30min)

› The recording of popular music in graphic novels: approach to three cases - Cristian Guerra-Rojas, Universidad de Chile = University of Chile [Santiago] 12:15-12:45 (30min)

› Recorded Music and the Policing of Multivocality: The Case of Fousheé - Chris Tonelli, University of Groningen 12:45-13:15 (30min)

11:45 - 12:45 (1h)

Histoire de l'industrie phonographique

C109

Jedediah Sklower

› Toward a genealogy of quantization and post-production in popular music: The proto-digitality of piano roll production. - Steffen Just, Universität Bonn = University of Bonn 11:45-12:15 (30min)

› À la trace de « la chanteuse mystérieuse » et autres « inconnues » : analyse des registres de la compagnie Compo à Montréal (1921-1949) - Sandria P. Bouliane, Université Laval 12:15-12:45 (30min)

11:45 - 13:15 (1h30)

Enregistrement et live, enregistrement et performance

C111

Bernhard Steinbrecher

› Phaedra at 50 and the band as brand: heritage, nostalgia, legitimacy, and aura - Chris Anderton, Southampton Solent University 11:45-12:15 (30min)

› The New Album Europe Tour 2025 - Sydney Schelvis, University of Amsterdam [Amsterdam] = Universiteit van Amsterdam 12:15-12:45 (30min)

› Musical Asceticism in Kino's Recordings and Re-recordings - Sangheon Lee, University of Huddersfield 12:45-13:15 (30min)

11:45 - 12:45 (1h)

L’enregistrement comme technique de traitement du signal

C116

Samantha Bennett

› Human After All: Giorgio Moroder, Daft Punk's Random Access Memories, and the discourse on technology and creativity in record production - Carlo Nardi, Free University of Bozen-Bolzano 11:45-12:15 (30min)

› Malfunction as Queer Failure: The Anti-Telos of the Glitch - Rory Fewer, University of California [Riverside] 12:15-12:45 (30min)

11:45 - 13:15 (1h30)

Musique live en ligne

C115

Sergio Pisfil

› Platformization and Enjoyment of Live-streamed Music Events - Francesco D'Amato, Università degli Studi di Roma 11:45-12:15 (30min)

› Being Live in the Metaverse: Recorded Music in the Age of Web 3.0 - Vincent Granata, Nantes Université - UFR Lettres et Langages 12:15-12:45 (30min)

› Fifty shades of the same song. Music circulation and versioning in the age of the Web - Loïc Riom, Université de Lausanne = University of Lausanne 12:45-13:15 (30min)

11:45 - 12:45 (1h)

Enregistrement et diversité culturelle mondiale

C113

Martha Ulhôa

› Musical Diaspora and Cultural Identity: Examining the Journey of Más allá de la Bossa Nova - Ana Barbosa, University of Barcelona 11:45-12:15 (30min)

› Spaces and Places in Aotearoa New Zealand K-pop fandoms - Sophia Santillan - University of Auckland 12:15-12:45 (30min)

13:15 - 14:30 (1h15)

Déjeuner

14:30 - 16:00 (1h30)

Assemblée Générale

Amphithéâtre 500

IASPM

16:00 - 16:30 (30min)

Pause

16:30 - 17:30 (1h)

Enregistrement et intelligence artificielle

C106

Serge Lacasse

› Slime, Resonance, and Recording: on Slime Language (2018) - L Holland, University of Bristol [Bristol] 16:30-17:00 (30min)

› The Emergence and Potential Decline of Cloud-Based Sample Platforms - Vemund Hegstad Alm, University of Oslo - Ragnhild Brøvig, University of Oslo 17:00-17:30 (30min)

16:30 - 18:00 (1h30)

Enregistrement et diversité culturelle mondiale

C203

› PANEL - Decentering Popular Music Studies: Transnational Flows and Global Agencies in Asia - Adil Johan, University of malaya - Xin Ying Ch'ng, UCSI University - Lara Katrina Mendoza, Ateneo de Manila University 16:30-18:00 (1h30)

16:30 - 18:00 (1h30)

L’enregistrement comme technique de traitement du signal

C204

Samantha Bennett

› PANEL - Audio and Sound Engineering as Process: Inclusive Pedagogies of Technology, Music and Production - Amandine Pras, Conservatoire national supérieur de musique et de danse de Paris - Liz Przybylski, University of California, Riverside - Emmanuelle Olivier, Centre Georg Simmel - Kolawole Ganikale, University of York - Jordie Shier, Queen Mary, University of London 16:30-18:00 (1h30)

16:30 - 18:00 (1h30)

Pratiques, médiations et intermédiaires de l'enregistrement

C109

Bodo Mrozek

› Cleaning Up Rap Recordings for Radio - Amy Coddington, Amherst College 16:30-17:00 (30min)

› “Tone is in the Hands!” - The Narrative (De-)Construction of Guitar Recording Myths, exemplified on the YouTube Channel SpectreSoundStudios - Sidney König, Carl Von Ossietzky Universität Oldenburg = Carl von Ossietzky University of Oldenburg 17:00-17:30 (30min)

› Rentgenizdat, Magnitizdat, Samizdat: Grassroots Music Recording and Cultural Resistance in the Soviet Union - Ekaterina Ganskaya, University of Turin 17:30-18:00 (30min)

16:30 - 18:00 (1h30)

Enregistrement et live, enregistrement et performance

C110

Daniel Fredriksson

› Collaborative composition approaches for Balinese gamelan on screen and stage - Joshua Robinson, Australian National University 16:30-17:00 (30min)

› ‘And a little Baile Funk' – writing formulaic songs in standardised environments? Songwriting camps and the writing of Eurovision Song Contest entries - Katherine Williams, University of Huddersfield - Carsten Wernicke, Leuphana University Lueneburg 17:00-17:30 (30min)

› Heilung's Lifa: the audiovisual experience in a performance's recording - Elise Girard-Despraulex, Faculté de musique - Université Laval, CEAC - Université de Lille 17:30-18:00 (30min)

16:30 - 18:00 (1h30)

Enregistrement et diversité culturelle mondiale

C113

Oliver Seibt

› Capturing Authenticities: The Nueva Canción of the Southern Cone Between Archiving the Marginalized and Disseminating Emancipatory Discourses - Annika Rink, Universität Kassel [Kassel] 16:30-17:00 (30min)

› Alternative Expressions of Chineseness: Dow Wei's Electronic Dance Music - Ko-Hua Hung, University of California , Davis 17:00-17:30 (30min)

› A Missão de Pesquisas Folclóricas : la pratique de l'enregistrement comme résistance aux silences postcoloniaux dans la formation des musiques populaires brésiliennes au XXe siècle - Chloé NAMBOT, Université fédérale du Parana, Curitiba - département de philosophie (janvier 2023-juin 2023), Centre Atlantique de Philosophie 17:30-18:00 (30min)

16:30 - 18:00 (1h30)

Musique en temps de COVID

C111

Marion Brachet

› Familiarity Breeds Content: Tom Rosenthal, Viral Nostalgia, and a ‘Home' for Coronamusic. - Lou Aimes-Hill, University of Leeds 16:30-17:00 (30min)

› “Please Tag Me!” Platformization Practices of Busking in Times of the (Post)Pandemic - Ptatscheck Melanie, New York University | Leuphana University Lüneburg 17:00-17:30 (30min)

› Coffee Shop Ambience Music Videos. Suggestion and emotional self-care during the Coronavirus pandemic - Sara Revilla Gútiez, Escola Superior de Música de Catalunya 17:30-18:00 (30min)

16:30 - 18:00 (1h30)

Les enregistrements et leur réception

C115

Eric Smialek

› “I was singing to the Rolling Stones as soon as I could talk”: Contemporary Learning of the Rock Canon - Charlotte Markowitsch, Royal Melbourne Institute of Technology University 16:30-17:00 (30min)

› Joteria Listening: Oral History, Pop Music in Spanish, and Listening Practices of LGBTQ Latinx (Jotería) Communities in Los Angeles - Eddy Francisco Alvarez Jr, California State University [Fullerton] 17:00-17:30 (30min)

› “To age is a sin”: Madonna's audible disruptions of chrononormativity - Hannah Schiller, Department of Music, Yale University 17:30-18:00 (30min)

16:30 - 18:00 (1h30)

De l’enregistrement aux data et à la plateformisation

C116

Catherine Rudent

› “Nostalgic Echo”: Why Do Chinese Adolescents Prefer Low-Quality Audio of Henan Opera? - Shang Gao, Communication University of China 16:30-17:00 (30min)

› Echoes of the Past: Lo-fi Hip Hop in the Streaming Age and New Listening Trend - Kyoung Hwa Kim, Hanyang University - Suin Park, Hanyang University 17:00-17:30 (30min)

› Nostalgia Mode At Play: Saltburn Club Nights and The Shaping of a Platformed Past - Max Kaplan, University of Wisconsin-Madison 17:30-18:00 (30min)

19:00 - 23:55 (4h55)

Soirée festive au Point Éphémère

De 19h à 2h du matin, rendez-vous au Point Éphémère (200 Quai de Valmy), salle située sur les quais du Canal St Martin, pour une soirée festive se finissant par un DJ set.