08:00
09:00
10:00
11:00
12:00
13:00
14:00
15:00
16:00
17:00
18:00
19:00
20:00
21:00
9:00 - 9:45 (45min)
Registration
Distribution of badges
9:45 - 10:15 (30min)
Opening ceremony
Words of welcome from the organising team and the IASPM executive committee
10:15 - 11:00 (45min)
Keynote session: Recording Music: Saving It, or Making It?
Amphithéâtre
Antoine Hennion
11:00 - 11:15 (15min)
Break
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 - 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 - 14:00 (1h30)
Lunch
Recording, rights and remuneration models
Recording practices, mediations and intermediaries
Recordings and their reception
Recording and gender studies
Taylor Swift
Recorded music as heritage in exhibitions and museums
Digital Audio Workstations
Recording popular music and global cultural diversity
Recording as a text for analysis
Recording practices, mediations and intermediaries
Recordings and their reception
Recording and gender studies
Taylor Swift
Recorded music as heritage in exhibitions and museums
Digital Audio Workstations
Recording popular music and global cultural diversity
Recording as a text for analysis
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 - 16:00 (30min)
Coffee break
Recording practices, mediations and intermediaries
Recording, rights and remuneration models
Sound recording as an investigative technique or as writing
Recording and gender studies
Recording popular music and global cultural diversity
Recorded music as heritage in exhibitions and museums
Recording as a sound processing technique
Recording in sound studies
Recording popular music and global cultural diversity
Recording, rights and remuneration models
Sound recording as an investigative technique or as writing
Recording and gender studies
Recording popular music and global cultural diversity
Recorded music as heritage in exhibitions and museums
Recording as a sound processing technique
Recording in sound studies
Recording popular music and global cultural diversity
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
8:40 - 9:00 (20min)
Welcome
Recording practices, mediations and intermediaries
Recording and liveness, recording and performance
Recordings and their reception
Recording and artificial intelligence
Recording popular music and global cultural diversity
Recording as a text for analysis
From recording to data and streaming platforms
Dramaturgy and imagination in rock and metal music
Recording and gender studies
Recording and liveness, recording and performance
Recordings and their reception
Recording and artificial intelligence
Recording popular music and global cultural diversity
Recording as a text for analysis
From recording to data and streaming platforms
Dramaturgy and imagination in rock and metal music
Recording and gender studies
9:00 - 10:30 (1h30)
Recording practices, mediations and intermediaries
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)
Recording and liveness, recording and 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)
Recordings and their reception
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)
Recording and artificial intelligence
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)
Recording popular music and global cultural diversity
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)
Recording as a text for analysis
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)
From recording to data and streaming platforms
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)
Dramaturgy and imagination in rock and metal music
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)
Recording and gender studies
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)
Coffee break
11:00 - 11:45 (45min)
Keynote session: The Power of the Erotic in Dancing as an Experience of Recording and Unrecording Embodiment
Amphithéâtre
Amparo Lasen
11:45 - 12:30 (45min)
Keynote session: Love Songs in the Liminosphere: On Hearing the More-than-Human in Popular Music
Amphithéâtre
Dylan Robinson & Martin Daughtry
12:30 - 14:00 (1h30)
Lunch
The recording studio and its different formats
Uses of recordings and dance practices
Lyrics, music and images
Recording as a text for analysis
Recordings and their reception
Recording popular music and global cultural diversity
Recording and artificial intelligence
Recording as a medium
Ludomusicology
Uses of recordings and dance practices
Lyrics, music and images
Recording as a text for analysis
Recordings and their reception
Recording popular music and global cultural diversity
Recording and artificial intelligence
Recording as a medium
Ludomusicology
14:00 - 15:30 (1h30)
The recording studio and its different 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)
Uses of recordings and dance practices
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)
Lyrics, music and images
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)
Recording as a text for analysis
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)
Recordings and their reception
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)
Recording popular music and global cultural diversity
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)
Recording and artificial intelligence
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)
Recording as a medium
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)
Ludomusicology
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)
Coffee break
Recording practices, mediations and intermediaries
Recording popular music and global cultural diversity
Recording in sound studies
Recording as a medium
From recording to data and streaming platforms
Recording and gender studies
Recording and artificial intelligence
Recordings and their reception
Recording and liveness, recording and performance
Recording popular music and global cultural diversity
Recording in sound studies
Recording as a medium
From recording to data and streaming platforms
Recording and gender studies
Recording and artificial intelligence
Recordings and their reception
Recording and liveness, recording and performance
16:00 - 17:30 (1h30)
Recording practices, mediations and intermediaries
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)
Recording popular music and global cultural diversity
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)
Recording in 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)
Recording as a medium
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)
From recording to data and streaming platforms
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)
Recording and gender studies
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)
Recording and artificial intelligence
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)
Recordings and their reception
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)
Recording and liveness, recording and 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)
8:40 - 9:00 (20min)
Welcome
Recording practices, mediations and intermediaries
Recording and artificial intelligence
Masculinities
Recorded music as heritage in exhibitions and museums
Recording and liveness, recording and performance
Recording and the music economy
Recording popular music and global cultural diversity
Recording as a sound processing technique
From recording to data and streaming platforms
Recording and artificial intelligence
Masculinities
Recorded music as heritage in exhibitions and museums
Recording and liveness, recording and performance
Recording and the music economy
Recording popular music and global cultural diversity
Recording as a sound processing technique
From recording to data and streaming platforms
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
Recording as a medium
Uses of recordings and dance practices
Recording and liveness, recording and performance
Recording as a sound processing technique
The recording studio and its different formats
Recording in sound studies
Recording as a medium
Recording and the music economy
Recording popular music and global cultural diversity
Uses of recordings and dance practices
Recording and liveness, recording and performance
Recording as a sound processing technique
The recording studio and its different formats
Recording in sound studies
Recording as a medium
Recording and the music economy
Recording popular music and global cultural diversity
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
Recordings and their reception
Recording and the music economy
Recording as a medium
Recording popular music and global cultural diversity
Home studios
From recording to data and streaming platforms
Recording as a medium
Recording and liveness, recording and performance
How does the CNM (National Music Center) observe and study the French music industry?
Recording and the music economy
Recording as a medium
Recording popular music and global cultural diversity
Home studios
From recording to data and streaming platforms
Recording as a medium
Recording and liveness, recording and performance
How does the CNM (National Music Center) observe and study the French music industry?
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
8:30 - 8:45 (15min)
Welcome
Recordings and their reception
Recordings and politics
Recording and the music economy
Recordings and their reception
Sound recording as an investigative technique or as writing
Recording popular music and global cultural diversity
Recording as a text for analysis
Recording practices, mediations and intermediaries
Recording and gender studies
Recordings and politics
Recording and the music economy
Recordings and their reception
Sound recording as an investigative technique or as writing
Recording popular music and global cultural diversity
Recording as a text for analysis
Recording practices, mediations and intermediaries
Recording and gender studies
8:45 - 10:15 (1h30)
Recordings and their reception
C106
› Seeing reggaeton through the lenses of Spanish music criticism
- Marina Arias Salvado, Universidad Complutense de Madrid = Complutense University of Madrid [Madrid]
08:45-09:15 (30min)
› Rethinking Sound Hyperreality in Popular Music Studies
- Roquer Jordi, Universitat Autònoma de Barcelona = Autonomous University of Barcelona = Universidad Autónoma de Barcelona
09:15-09:45 (30min)
› Recorded Music and the Policing of Multivocality: The Case of Fousheé
- Chris Tonelli, University of Groningen
09:45-10:15 (30min)
8:45 - 10:15 (1h30)
Recordings and politics
C115
› 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)
Recording and the music economy
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)
Recordings and their reception
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)
Sound recording as an investigative technique or as writing
C110
› Recording the Groove of Gammeldans: Experimental and artist-led techniques to explore timing in accordion dance music virtuosity
- Daniel Fredriksson, Dalarna University - Totte Mattsson, Dalarna University
08:45-09:15 (30min)
› Recording material conditions of rehearsal space as a methodological strategy
- Martin Lussier, Université du Québec à Montréal = University of Québec in Montréal
09:15-09:45 (30min)
› Vernacular Modernism during the Birth of Recording: Computational Approaches to the History of Tin Pan Alley
- Samuel Backer, University of Maine
09:45-10:15 (30min)
8:45 - 10:15 (1h30)
Recording popular music and global cultural diversity
C113
› (Re)Covering the “Empire”? Hyperphonography and identity in Latin American tribute bands of the Spanish folk metal group Mägo de Oz
- Diego Garcia-Peinazo, Facultad de Filosofía y Letras - Universidad de Córdoba
08:45-09:15 (30min)
› Musical Diaspora and Cultural Identity: Examining the Journey of Más allá de la Bossa Nova
- Ana Barbosa, University of Barcelona
09:15-09:45 (30min)
› 1968 "Non illuderti mai" translation and permutation of a pop song in the Italian, French and English Environment
- Santoro Lorenzo, S. Giacomantonio
09:45-10:15 (30min)
8:45 - 10:15 (1h30)
Recording as a text for analysis
C116
› Les lost sessions comme répertoire d'analyse : l'exemple des séances de Miles Davis au Columbia studio en 1978.
- Guillaume Dupetit, Littératures, Savoirs et Arts - Kevin Dahan, Littératures, Savoirs et Arts
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)
› Aspects of Tactus in Early Country Blues Recordings: Technical and ethical considerations
- William Echard, Carleton University
09:45-10:15 (30min)
8:45 - 10:15 (1h30)
Recording practices, mediations and intermediaries
C109
› 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)
› Sound Media As Transmediating Tools: Popularizing Litgit (Bowed Bamboo Instrument) Music of the Panay Bukidnon Indigenous Community Through Recording-Based Pedagogical Materials and Contemporary Music
- JOSE JR. TATON, University of the Philippines Visayas
09:15-09:45 (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
09:45-10:15 (30min)
8:45 - 10:15 (1h30)
Recording and gender studies
C111
› “Uncle Johnny Made My Dress”: Beyoncé, Renaissance, and Capitalization of Black Queer Cultures
- Lauron Kehrer, Western Michigan University [Kalamazoo]
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)
Coffee break
10:45 - 11:30 (45min)
Keynote session: Culture, Commerce, and Authenticity: Black British Recordings in Context
Amphithéâtre
Mike Alleyne
11:30 - 11:45 (15min)
Break
Recording as a medium
Recording practices, mediations and intermediaries
Joni Mitchell
Recordings and their reception
History of the phonographic industry
Recording and liveness, recording and performance
Recording as a sound processing technique
Online live music
Recording popular music and global cultural diversity
Recording practices, mediations and intermediaries
Joni Mitchell
Recordings and their reception
History of the phonographic industry
Recording and liveness, recording and performance
Recording as a sound processing technique
Online live music
Recording popular music and global cultural diversity
11:45 - 13:15 (1h30)
Recording as a medium
C203
› 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)
Recording practices, mediations and intermediaries
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
› It Sounded Like Applause: Music, Sound and Imagined Lives in Joni Mitchell's Inside Songs
- Richard Elliott, Newcastle University [Newcastle]
11:45-12:15 (30min)
› "Lesson in Survival: Joni Mitchell Goes Her Own Way, Again"
- Norma Coates, University of Western Ontario
12:15-12:45 (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)
Recordings and their reception
C110
› 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)
› TikTok and Hyperlistening: The Transmedial Modular Materiality of Pop in the Age of Social Media
- Anders Reuter, Lund University
12:45-13:15 (30min)
11:45 - 13:15 (1h30)
History of the phonographic industry
C109
› The jazz record on BBC radio 1922 to 1972
- Tim Wall, Birmingham City University
11:45-12:15 (30min)
› Traces phonographiques de la vie musicale au Québec : les registres de la compagnie Compo, 1921-1949
- Sandria P. Bouliane, Université Laval
12:15-12:45 (30min)
› 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
12:45-13:15 (30min)
11:45 - 13:15 (1h30)
Recording and liveness, recording and performance
C111
› 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, Gustave Eiffel University
12:45-13:15 (30min)
11:45 - 13:15 (1h30)
Recording as a sound processing technique
C116
› 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)
› Nostalgia for a Past That Never Existed? The use of analog gear when there are other options available
- Jeremy Vachet, Laboratoire des Sciences de l'Information et de la Communication
12:45-13:15 (30min)
11:45 - 13:15 (1h30)
Online live music
C115
› 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 - 13:15 (1h30)
Recording popular music and global cultural diversity
C113
› Embodying Memory Through Music: The Finnish Tatars
- Ayhan Erol, Dokuz Eylül University
11:45-12:15 (30min)
› The Sampling and Production of Beats in Hip-hop Music and the Reflection of Chinese Music Elements in Hip-hop Music Production
- ZiQi Xu, Shanghai Conservatory of Music
12:15-12:45 (30min)
› "Mighty Dreams & Southern Scenes: Listening to Pharrell Williams, Black Virginians and Ambition”
- Danielle Davis, Florida State University [Tallahassee]
12:45-13:15 (30min)
13:15 - 14:30 (1h15)
Lunch
14:30 - 16:00 (1h30)
General Meeting
Amphithéâtre
IASPM
16:00 - 16:30 (30min)
Break
Recording and artificial intelligence
Recording popular music and global cultural diversity
Recording as a sound processing technique
Recording practices, mediations and intermediaries
Recording and liveness, recording and performance
Recording popular music and global cultural diversity
Music in times of COVID
Recordings and their reception
From recording to data and streaming platforms
Recording popular music and global cultural diversity
Recording as a sound processing technique
Recording practices, mediations and intermediaries
Recording and liveness, recording and performance
Recording popular music and global cultural diversity
Music in times of COVID
Recordings and their reception
From recording to data and streaming platforms
16:30 - 18:00 (1h30)
Recording and artificial intelligence
C106
› 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)
› 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
17:30-18:00 (30min)
16:30 - 18:00 (1h30)
Recording popular music and global cultural diversity
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)
Recording as a sound processing technique
C204
› 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)
Recording practices, mediations and intermediaries
C109
› Cleaning Up Rap Recordings for Radio
- Amy Coddington, Amherst College
16:30-17:00 (30min)
› EBOY1: Ellen plays bass
- Tobias Marx, University of Erfurt
17:00-17:30 (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
17:30-18:00 (30min)
16:30 - 18:00 (1h30)
Recording and liveness, recording and performance
C110
› 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)
Recording popular music and global cultural diversity
C113
› 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)
Music in times of COVID
C111
› 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 - 17:30 (1h)
Recordings and their reception
C115
› “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)
16:30 - 18:00 (1h30)
From recording to data and streaming platforms
C116
› “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)
8:40 - 9:00 (20min)
Welcome
Recording popular music and global cultural diversity
Recorded music as heritage in exhibitions and museums
Cover versions
Recording and gender studies
Politics and counterculture
Recording and liveness, recording and performance
Recordings and their reception
Recording and the music economy
Recording and place
Recorded music as heritage in exhibitions and museums
Cover versions
Recording and gender studies
Politics and counterculture
Recording and liveness, recording and performance
Recordings and their reception
Recording and the music economy
Recording and place
9:00 - 10:30 (1h30)
Recording popular music and global cultural diversity
C203
› PANEL - Resonant Frequencies: National Identity, Musical Memory, and Artistic Activism in Southeast Asia
- Rebekah Moore, Northeastern University - Jeremy Wallach, Bowling Green State University - Krina Cayabyab, University of the Philippines
09:00-10:30 (1h30)
9:00 - 10:30 (1h30)
Recorded music as heritage in exhibitions and museums
C204
› PANEL - Brazilian popular music, independent production and museum policies in the digital age
- Sheyla Diniz, Universidade de São Paulo = University of São Paulo, Tulane University - Luiz Henrique Assis Garcia, Universidade Federal de Minas Gerais = Federal University of Minas Gerais [Belo Horizonte, Brazil] - Eder Wilker Pena, Universidade de São Paulo = University of São Paulo, CUNY Graduate Center
09:00-10:30 (1h30)
9:00 - 10:30 (1h30)
Cover versions
C116
› Du standard au oldie : la reprise comme affirmation de l'autorité créatrice de l'enregistrement (1955-1958)
- Claire Fraysse, Institut de Recherche en Musicologie
09:00-09:30 (30min)
› “Seasons in the Sun” – The many lives of a French/American/Canadian world hit
- Henrik Smith-Sivertsen, Henrik Smith-Sivertsen, Royal Danish Library
09:30-10:00 (30min)
› Men wanted: Multimodal performance of masculinity in two French translations of Bob Dylan and Johnny Cash's "Wanted Man"
- Jean-Charles Meunier, Université Polytechnique Hauts-de-France
10:00-10:30 (30min)
9:00 - 10:30 (1h30)
Recording and gender studies
C111
› Spanish punk discography: bands of women and queer people
- María Alonso, Universidad de Oviedo = University of Oviedo
09:00-09:30 (30min)
› Les premières femmes du tango : la représentation du féminin à travers les disques
- Marina Cañardo, École des hautes études en sciences sociales, Facultad de Filosofía y Letras
09:30-10:00 (30min)
› Recordings and Gender Inequality in the German Music Industry – an analysis of interviews with stake holders within the recording industry in Germany
- Nina Himmelreich, University of Liverpool, Institute of Popular Music
10:00-10:30 (30min)
9:00 - 10:30 (1h30)
Politics and counterculture
C110
› Rentgenizdat, Magnitizdat, Samizdat: Grassroots Music Recording and Cultural Resistance in the Soviet Union
- Ekaterina Ganskaya, Università degli studi di Torino = University of Turin
09:00-09:30 (30min)
› Indigenous popular music and pipeline protests in North America
- Shanna Lorenz, Occidental College
09:30-10:00 (30min)
9:00 - 10:30 (1h30)
Recording and liveness, recording and performance
C106
› The Politics of ‘Liveness': The Use of Recording in K-Pop Performance
- Linzi Yang, The University of Birmingham
09:00-09:30 (30min)
› The transphonographic construction of myths, personas and (star) images in the production of popular music: An integrative analysis of the realm between concrete private person and unplannable puncta
- Christoph Jacke, Universität Paderborn - Joshua Wick, Universität Paderborn
09:30-10:00 (30min)
› No Liam, Just Payne: The Complicated Nature of Parasocial Grief
- Katherine Pattison, Royal Melbourne Institute of Technology University - Catherine Strong, Royal Melbourne Institute of Technology University - Jeri Karmelic, Royal Melbourne Institute of Technology University
10:00-10:30 (30min)
9:00 - 10:30 (1h30)
Recordings and their reception
C115
› Immersive Music – Recording and Re-recording in Popular Music Production For Commercial Releas
- Andrew Bourbon, (University of Huddersfield)
09:00-09:30 (30min)
› Psychedelic Aesthetics and the Art of DJing: Notes from the US Rave Underground
- Victor Szabo, Hampden-Sydney College
09:30-10:00 (30min)
› Modern Analog Listening and the Transculturation of the Japanese Jazz Kissa
- Mark Katz, University of North Carolina at Chapel Hill [NC, USA]
10:00-10:30 (30min)
9:00 - 10:30 (1h30)
Recording and the music economy
C109
› Uncertainty and challenges in the Peruvian recording industry
- Sergio Pisfil, Universidad Peruana de Ciencias Aplicadas (Lima)
09:00-09:30 (30min)
› Music festivals and climate resilience in Australia
- Catherine Strong, Royal Melbourne Institute of Technology University
09:30-10:00 (30min)
› Recording popular music in France: the industrialization of music throughout the 20th century
- Marc Kaiser, Centre d\'études sur les médias, les technologies et línternationalisation
10:00-10:30 (30min)
9:00 - 10:30 (1h30)
Recording and place
C113
› Favela Movement: Record Production Networks in Precarious Areas of Fortaleza, Brazil
- Pedro MARRA, Universidade Federal do Espirito Santo
09:00-09:30 (30min)
› “Staying all true to the borough”? Hip-Hop heritage, tourism and urban change in New York
- Séverin Guillard, Habiter le Monde - UR 4287
09:30-10:00 (30min)
› The Conflicting and Complementing Logics of Popular Music Making in Iceland
- Jeremy Peters, Wayne State University [Detroit]
10:00-10:30 (30min)
10:30 - 11:00 (30min)
Coffee break
11:00 - 12:30 (1h30)
Recording as a text for analysis
C106
› North American influences on early Spanish Folk Song recordings (1968-1975)
- Ruth Piquer, Universidad Complutense de Madrid = Complutense University of Madrid [Madrid]
11:00-11:30 (30min)
› A Song “From the New World”: Recording Serge Gainsbourg at the time of Swinging London
- Olivier Julien, Sorbonne Université - Faculté des Lettres - UFR Musique et musicologie
11:30-12:00 (30min)
› The Three Lives of “I'm New Here”: Recording Gentrification and Anti-Gentrification in Gil Scott-Heron's Final Album
- Patch Justin, IASPM-US
12:00-12:30 (30min)
11:00 - 12:30 (1h30)
Recording popular music and global cultural diversity
C203
› ROUNDTABLE - Aya Nakamura: recording cultural diversity in contemporary France
- Emmanuel Parent, Université de Rennes 2 - UFR Arts, Lettres, Communication - Jérémy Michot, Centre de Recherche sur les Sociétés et Environnements en Méditerranées
11:00-12:30 (1h30)
11:00 - 12:30 (1h30)
Recording as a medium
C204
› 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
11:00-12:30 (1h30)
11:00 - 12:30 (1h30)
Recording as a text for analysis
C110
› “I transcend genres, but I also helped create one”: an analysis of Charli XCX's metageneric universe
- Ugo Fellone, Valencian International University
11:00-11:30 (30min)
› The Sparkling Shine of #cleancore: Exploring Music Genre on TikTok
- Anders Bach Pedersen, University of Copenhagen = Københavns Universitet
11:30-12:00 (30min)
› Songs in the Key of Life: Stylistic Adaptation and the 1970s Music Industry
- Justin Williams, University of Bristol
12:00-12:30 (30min)
11:00 - 12:30 (1h30)
Festivals
C115
› Czechoslovak beat festival 1968. Newly discovered recordings shed light on old history
- Aleš Opekar, Institute of Art History, Czech Academy of Sciences
11:00-11:30 (30min)
› Dominant and Alternative Repertoires of Lisbon's Brazilian Street Carnival: Curating Distinction through Live Reproductions of Popular Music Recordings in a Diasporic Festivity
- Andrew Snyder, Universidade Nova de Lisboa
11:30-12:00 (30min)
› Collective Listening and Ecological Activism through Sound Art: A Case Study of the 2022 Lisboa Soa Festival
- Rita Santos Rita Santos, Universidade Nova de Lisboa = NOVA University Lisbon
12:00-12:30 (30min)
11:00 - 12:00 (1h)
Ageing
C116
› ‘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]
11:00-11:30 (30min)
› “To age is a sin”: Madonna's audible disruptions of chrononormativity
- Hannah Schiller, Department of Music, Yale University
11:30-12:00 (30min)
11:00 - 12:30 (1h30)
Recording as a medium
C113
› Musical creativity when under pressure
- Paolina Aquilino, University of Kassel
11:00-11:30 (30min)
› Recording Non-human Animals: Multispecies Music Memes as Popular Music
- Pascal Rudolph, University of Cologne - Martin Ullrich, Nuremberg University of Music
11:30-12:00 (30min)
› On the Record: Talking about Vinyl and Its Role in Wellington's Urban Imaginary
- Geoff Stahl, Victoria University of Wellington
12:00-12:30 (30min)
11:00 - 12:30 (1h30)
Recording and the music economy
C109
› ‘The state' of the radio: Competition, coordination, and production in the East German state music monopoly, 1971-1989
- Padraig Parkhurst, University of Melbourne
11:00-11:30 (30min)
› Records for Export: The SweMix and the Sounds of a Small Domestic Market
- Eric Weisbard, University of Alabama [Tuscaloosa]
11:30-12:00 (30min)
› The Revival of 1970s–80s Japanese City Pop: Circulation in a Variegated Musical Economy
- Noriko Manabe, Indiana University
12:00-12:30 (30min)
11:00 - 12:30 (1h30)
Recording and gender studies
C111
› Eras, empowerment and transition in the discography of Spanish singers: the cases of Zahara and Rosalía
- Teresa Fraile, Universidad Complutense de Madrid = Complutense University of Madrid [Madrid]
11:00-11:30 (30min)
› “God is a chick”: Critiquing heteropatriarchal Christianity and hip hop through feminist lesbian rap
- Inka Rantakallio, Helsingin yliopisto = Helsingfors universitet = University of Helsinki, Research Association Suoni
11:30-12:00 (30min)
› How does gender normativity effect emotion elicitation in music listening, including musical gestures?
- Takahiro Miyauchi, Kyushu University - Hirofumi Ueta, Kyushu University
12:00-12:30 (30min)
12:30 - 14:00 (1h30)
Lunch
Recording popular music and global cultural diversity
Recordings and their reception
Recording practices, mediations and intermediaries
Recording as a text for analysis
Sound recording as an investigative technique or as writing
From recording to data and streaming platforms
Recording instruments
Film music and musical cinema
Environment and ecology
Recordings and their reception
Recording practices, mediations and intermediaries
Recording as a text for analysis
Sound recording as an investigative technique or as writing
From recording to data and streaming platforms
Recording instruments
Film music and musical cinema
Environment and ecology
14:00 - 15:30 (1h30)
Recording popular music and global cultural diversity
C113
› The Emergence of Taiwan's Grassroots Sounds in the Market: The field recording project capturing the “Sounds of Taiwan” inadvertently marked a crucial transformation in the development of Taiwanese popular music.
- Chenching Cheng, Department of Journalism and Communication, Hong Kong Chu Hai College
14:00-14:30 (30min)
› Latin goes jazz. Sound and visual representations of the Latin in Afro-Cuban jazz recordings (1945-1970)
- Laura Sanz García, Universidad Carlos III de Madrid [Madrid]
14:30-15:00 (30min)
› Social Media Recordings as Narrative within the Historically Black College and University Ecosystem
- Kevin Green, California State Polytechnic University [Pomona]
15:00-15:30 (30min)
14:00 - 15:30 (1h30)
Recordings and their reception
C106
› Listening to Vinyl Records in the Digital Age: Expanding Musical Narratives into Listeners' Bodies
- Hyunseok Kwon, Hanyang University
14:00-14:30 (30min)
› Fever on Recordings: Theorising Fashao Audiophile Culture and Localized Sound Practice in Post-Mao China
- DENG Haoxian, Hong Kong Baptist University
14:30-15:00 (30min)
› No shame, no scandal: four French recordings of a Caribbean track
- Barbara Lebrun, The University of Manchester
15:00-15:30 (30min)
14:00 - 15:30 (1h30)
Recording practices, mediations and intermediaries
C204
› PANEL - Metal Zines: Recording the Underground
- Gerome Guibert, Université Sorbonne Nouvelle - Owen Coggins, Brunel University of London - Catherine Guesde, Université Paris 8
14:00-15:30 (1h30)
14:00 - 15:30 (1h30)
Recording as a text for analysis
C203
› ROUNDTABLE - Recording Leonard Cohen
- David Shumway, Carnegie Mellon University [Pittsburgh]
14:00-15:30 (1h30)
14:00 - 15:30 (1h30)
Sound recording as an investigative technique or as writing
C109
› Cultural record: music album as a teaching method in social sciences
- Smółka Maciej, Uniwersytet Jagielloński w Krakowie = Jagiellonian University
14:00-14:30 (30min)
› L'usage des enregistrements discographiques, cassettes, et numériques dans les processus d'enseignement-apprentissage de la musique de gaita larga colombienne (1980 à aujourd'hui).
- Arihana Villamil, École des hautes études en sciences sociales
14:30-15:00 (30min)
› Recording practices as mediation for teaching music production: adverse learning environments and students' agency
- Bonetti Lucas, Federal University of Bahia
15:00-15:30 (30min)
14:00 - 15:30 (1h30)
From recording to data and streaming platforms
C110
› How diverse are music streaming platforms? A comparison with radio broadcasters in Europe
- Daniel Bedoya, Groupe d'Études et de Recherche Interdisciplinaire en Information et COmmunication - ULR 4073 - Antoine Henry, Groupe d'Études et de Recherche Interdisciplinaire en Information et COmmunication - ULR 4073
14:00-14:30 (30min)
› From Listening to Connection: The Evolution of Chinese Digital Music Platforms for ‘Online Music Socializing'
- Manlin Wang, Communication University of China
14:30-15:00 (30min)
› The Work of the Album in the Age of Streaming Platforms
- Jack Melton, University of Melbourne
15:00-15:30 (30min)
14:00 - 15:30 (1h30)
Recording instruments
C111
› Enregistrer l'harmonica : questions de méthodes et d'identités sonores
- Alexandre PIRET, Université de Liège, Vrije Universiteit Brussel [Bruxelles], Fonds National de la Recherche Scientifique [Bruxelles]
14:00-14:30 (30min)
› What makes a violin sound folk in style? Some considerations based on fieldwork in Castilla y León (Spain), the creation of a multimedia glossary and musical recordings
- Ainhoa Muñoz, Musicology Department. Complutense University of Madrid
14:30-15:00 (30min)
› Symmetrical and Asymmetrical Drum Recording Techniques, Ways to approach polarity and phase in Drum recordings.
- Jose Cubides Gutierrez, Academy of Contemporary Music - Ed Hendry, Academy of Contemporary Music
15:00-15:30 (30min)
14:00 - 15:30 (1h30)
Film music and musical cinema
C115
› Multitracking a Harmony for Ethnic–National Identities, Cosmopolitanism and Transnational Modernity: Re-storying an ‘Unpopular' History of Film Music in Malaysian Cinema
- Ow Wei Chow, Universiti Putra Malaysia - Ken Hor, Inner Voices Productions
14:00-14:30 (30min)
› The intermediation of Spanish musical cinema in the debate on flamenco: two films starring singers Antonio Molina and Rafael Farina
- CELSA ALONSO, Universidad de Oviedo = University of Oviedo
14:30-15:00 (30min)
› Hawai‘i in Stereo: Cinerama, Stereophonic Sound, and Hawaiian Statehood
- Manan Desai, University of Michigan
15:00-15:30 (30min)
14:00 - 15:30 (1h30)
Environment and ecology
C116
› Recording Environmental Shifts in Popular Music: The Long View
- Kathryn Cox, Liverpool Hope University
14:00-14:30 (30min)
› "Mother Nature, You're Just Showing Off Now" – A Wildlife Documentary Turned Pop Recording
- Helene Elisabeth Heuser, Justus-Liebig-Universität Gießen
14:30-15:00 (30min)
› Low Carbonism Music
- Kyle Devine, University of Oslo, University of Winnipeg
15:00-15:30 (30min)
15:30 - 16:00 (30min)
Coffee break
16:00 - 17:30 (1h30)
Politics and counterculture
C106
› Monterey, Woodstock, Maui: Jimi Hendrix video recordings as countercultural communal representation
- Victor Arul, Harvard University
16:00-16:30 (30min)
› Making Politics, Recording Records: an Atlas of Antagonist Discography
- Jacopo Tomatis, Università degli studi di Torino = University of Turin
16:30-17:00 (30min)
› Sounding Divides: Recorded Music and Affective Polarization in Protest Movements
- Melanie Schiller, Radboud university [Nijmegen]
17:00-17:30 (30min)
16:00 - 17:30 (1h30)
Cover versions
C109
› Sous l'enregistrement la musique. Enjeux ontologiques et esthétiques de la reprise acoustique.
- Thomas Mercier-Bellevue, Centre Victor Basch, Académie de Lille
16:00-16:30 (30min)
› How TikTok is “speding-up” the popular music industry: creators, practices and virality of the sped-up remix versions
- Eduardo Vinuela, Universidad de Oviedo = University of Oviedo - Cande Sánchez-Olmos, University of Alicante
16:30-17:00 (30min)
› “Make the World Great Again”: Laibach and the re-recording of popular music classics as totalitarian anthems
- Kimi Kärki, Uniarts Helsinki
17:00-17:30 (30min)
16:00 - 17:30 (1h30)
Uses of recordings and dance practices
C110
› The Semiotic Power of Techno Music: An Ethnography Exploration
- Michele Dentico, Università degli Studi di Roma "La Sapienza" = Sapienza University [Rome]
16:00-16:30 (30min)
› Plena and the influence of recordings in traditional urban Puerto Rican music
- Javier Silvestrini, University of Music and Performing Arts Vienna
16:30-17:00 (30min)
› L'enregistrement sonore, une réévaluation phénoménologique en danse flamenca
- Corinne Frayssinet Savy, Institut de Recherche en Musicologie, Représenter, Inventer la Réalité du Romantisme à lÁube du XXIe siècle
17:00-17:30 (30min)
16:00 - 17:30 (1h30)
Recording popular music and global cultural diversity
C113
› Home Is Where the #Shanties Are: Recording Songwriters, Rockers, and Shanty Bands in Cornwall
- Nicholas Booker, The Ohio State University [Columbus]
16:00-16:30 (30min)
› The Impact of Socioeconomic Development on Hong Kong's Recording Studios: 1997-2024
- Edmond Tsang, Hong Kong Baptist University
16:30-17:00 (30min)
› A Historical Analysis on the Evolution and Cultural Significance of Jazz Recordings in 20th-Century Shanghai
- Wenyu Tao, Shanghai Conservatory of Music
17:00-17:30 (30min)
16:00 - 17:30 (1h30)
From recording to data and streaming platforms
C115
› Towards AI-mediated Interactive Listening on the Streaming Platform as a New Hybrid Media
- Hiroko Nishida, Faculty of Design, Kyushu University
16:00-16:30 (30min)
› Reshaping Music Recording in the Age of Digital Streaming
- MIaoju Jian, National Chung-Cheng University
16:30-17:00 (30min)
› From Market Disruptions to Real Transformation. The Promise of Democratising Recording Industries in the Age of Platform Capitalism.
- Juho Kaitajärvi-Tiekso, Tampere University
17:00-17:30 (30min)
16:00 - 17:30 (1h30)
Varia/Outside of conference theme
C116
› Music, identity and community in depopulated Spain: a map of festivals
- Héctor Fouce, Universidad Complutense de Madrid = Complutense University of Madrid [Madrid]
16:00-16:30 (30min)
› Taking Astrology Seriously: Ethnomusicological Approaches to Music, Healing, and the Alignments of the Cosmos
- Jose Vicente Neglia, University of Hong Kong
16:30-17:00 (30min)
16:00 - 17:30 (1h30)
K-Pop
C203
› PANEL - K-pop in Aotearoa/New Zealand
- Kirsten Zemke, University of Auckland - Sun Koo - Sophia Santillan
16:00-17:30 (1h30)
16:00 - 17:30 (1h30)
Recording practices, mediations and intermediaries
C204
› ROUNDTABLE - Independence in 21st Century Popular Music: Recording, Live Performance, and Economy
- Shannon Garland, University of Pittsburgh - Marcia Tosa Dias, Universidade Federal de São Paulo - Mike Levine, Christopher Newport University - Ana Maria Diaz Pinto, University of California [Davis] - MIaoju Jian, National Chung-Cheng University - Pedro Blechior Nunes, Universidade Nova de Lisboa = NOVA University Lisbon
16:00-17:30 (1h30)
