Programme
| Heures |
événement |
(+)
|
|
09:00 - 09:45
|
Enregistrement - Remise des badges |
|
|
09:45 - 10:15
|
Cérémonie d'accueil - Mot de bienvenue de l'équipe d'organisation et du bureau IASPM |
|
|
10:15 - 11:00
|
Conférence plénière : Recording Music: Saving It, or Making It? [modérateur : Gérôme Guibert) (Amphithéâtre) - Antoine Hennion |
|
|
11:00 - 11:15
|
Pause |
|
|
11:15 - 12:00
|
Conférence plénière : Sampling’s AH, AHA, and HAHA: Perspectives on aesthetic, political, and humorous aspects of sampling [modérateur : Serge Lacasse] (Amphithéâtre) - Ragnhild Brøvig |
|
|
12:00 - 12:30
|
L'Archive RILM de Magazines de Musiques Populaires : introduction à un nouvel outil de recherche (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
|
Déjeuner |
|
|
14:00 - 15:00
|
Enregistrement, droits et modèles de rémunération (C106) - Patryk Gałuszka |
(+)
|
|
14:00 - 14:30 |
› 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 |
|
|
14:30 - 15:00 |
› Spotting the Differences: mapping copyright histories in popular music recordings - Jennifer Skellington, Southampton Solent University |
|
|
14:00 - 15:30
|
Pratiques, médiations et intermédiaires de l'enregistrement (C109) - Sébastien Lebray |
(+)
|
|
14:00 - 14:30 |
› “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 |
|
|
14:30 - 15:00 |
› 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 |
|
|
15:00 - 15:30 |
› GEAR R' US! Staging Gear in Trade Shows - Samantha Bennett, The Australian National University - Eliot Bates, CUNY Graduate Center |
|
|
14:00 - 15:30
|
Les enregistrements et leur réception (C110) - Marion Brachet |
(+)
|
|
14:00 - 14:30 |
› Isolation, Individualised Listening, and Doom Metal - Pablo Rojas, Austrian Academy of Sciences |
|
|
14:30 - 15:00 |
› The aesthetic of intimacy in sentimental ballads as a media-technical possibility of private music consumption - Theresa Nink, University of Siegen = Universität Siegen [Siegen] |
|
|
15:00 - 15:30 |
› Whispering in Our Ears: Billie Eilish and the Unsettling Side of Sonic Intimacy - Kelly Hoppenjans, University of Michigan [Ann Arbor] |
|
|
14:00 - 15:30
|
L’enregistrement et les études de genre (C111) - Katherine Williams |
(+)
|
|
14:00 - 14:30 |
› 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 |
|
|
14:30 - 15:00 |
› Platformisation and Gender Dynamics: The Changing of the Chinese Recording Industry - Yuan Yao, University of Leeds |
|
|
15:00 - 15:30 |
› Girls in the studio: Exploring gendered dynamics in group music composition within Rome's alternative music scene. - Francesca Cireddu, University of Pavia |
|
|
14:00 - 15:30
|
Taylor Swift (C113) |
(+)
|
|
14:00 - 14:30 |
› Elegies for Family: Three Songs of Bereavement by Taylor Swift - Eric Smialek, University of Huddersfield |
|
|
14:30 - 15:00 |
› The Effect of Taylor Swift's Recording Practices on Prosodic Dissonance and Storytelling - Alexander Shannon, Indiana University - Jacobs School of Music |
|
|
15:00 - 15:30 |
› ‘Taylor's Version': Considering the branding processes of Taylor Swift's album re-recordings - Cerys Swain, University of Liverpool |
|
|
14:00 - 15:30
|
Les musiques enregistrées comme patrimoine (C115) - Elsa Grassy |
(+)
|
|
14:00 - 14:30 |
› Kaleidoscope Worlds: Sonic Traces in the Archive - Amanda Mills, University of Otago [Dunedin, Nouvelle-Zélande] |
|
|
14:30 - 15:00 |
› 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 |
|
|
15:00 - 15:30 |
› 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 |
|
|
14:00 - 15:30
|
Digital Audio Workstations (C116) - Baptiste Bacot |
(+)
|
|
14:00 - 14:30 |
› Crowdsourced Recording Practices in Browser-Based DAWs - Martin Koszolko, University of Newcastle |
|
|
14:30 - 15:00 |
› The Rise of Software. Media Histories of Digital Audio Workstations - Valentin Ris, Universität Bonn = University of Bonn |
|
|
15:00 - 15:30 |
› In isolation: DAW technology and the hard work of solitary music production - Oyvind Skjerdal, University of Oslo |
|
|
14:00 - 15:30
|
Enregistrement et diversité culturelle mondiale (C203) |
(+)
|
|
14:00 - 15:30 |
› 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
|
L’enregistrement comme texte pour l’analyse (C204) - Serge Lacasse |
(+)
|
|
14:00 - 15:30 |
› 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 |
|
|
15:30 - 16:00
|
Pause café |
|
|
16:00 - 17:30
|
Pratiques, médiations et intermédiaires de l'enregistrement (C109) - Sébastien Lebray |
(+)
|
|
16:00 - 16:30 |
› 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 |
|
|
16:30 - 17:00 |
› Re-professionalising the Australian music production workforce in the digital age - Rod Davies, Monash university |
|
|
17:00 - 17:30 |
› Singing From the Same Hymn Sheet? Contextualising the Lobbying of UK Music - Jacob Simmons, University of Liverpool |
|
|
16:00 - 17:30
|
Enregistrement, droits et modèles de rémunération (C106) - Marc Kaiser |
(+)
|
|
16:00 - 16:30 |
› 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] |
|
|
16:30 - 17:00 |
› Music as a Service: B2B Streaming and the Platformization of Functional Music - Ryan Blakeley, Eastman School of Music |
|
|
17:00 - 17:30 |
› The artificial studio: redefining the rights in recorded music in a prosumer-driven industry - Rachael Drury, University of Liverpool |
|
|
16:00 - 17:30
|
L’enregistrement sonore comme technique d’enquête ou d'écriture (C110) |
(+)
|
|
16:00 - 16:30 |
› 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 |
|
|
16:30 - 17:00 |
› Sounding with the Archive Trouble - Danae Stefanou, School of Music Studies, Aristotle University of Thessaloniki - Ioannis Kotsonis, National Hellenic Research Foundation [Athens] |
|
|
17:00 - 17:30 |
› Recording Memory: Witness-Centered Music Production as a Method for Engaging with Holocaust Testimonies - Thomas Sebastian Köhn, Leuphana Universität Lüneburg |
|
|
16:00 - 17:30
|
L’enregistrement et les études de genre (C111) - Isabelle Marc |
(+)
|
|
16:00 - 16:30 |
› Recording women's music - Céline PRUVOST, Centre d'Etudes des Relations et Contacts Linguistiques et Littéraires - UR UPJV 4283 |
|
|
16:30 - 17:00 |
› Keeping Records of Misogyny in Ireland: Feminist Resistance in Contemporary Popular Music - Laura Watson, National University of Ireland Maynooth |
|
|
17:00 - 17:30 |
› 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 |
|
|
16:00 - 17:30
|
Enregistrement et diversité culturelle mondiale (C113) - Catalina Constantinovici |
(+)
|
|
16:00 - 16:30 |
› 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 |
|
|
16:30 - 17:00 |
› Sonic Landscapes of Belonging: Recording, Space, and Identity in Caribbean Musical Theatre - Ziqi Lin, Central Conservatory of Music, China |
|
|
17:00 - 17:30 |
› Is it recording that makes us reject the homogenization of popular music while appreciating its in absence? - Di Fang, Shanghai Conservatory of Music |
|
|
16:00 - 17:30
|
L’enregistrement comme technique de traitement du signal (C116) - Justin Williams |
(+)
|
|
16:00 - 16:30 |
› Sampling and resampling in Bass music. A musicological perspective from the DAW - Baptiste Bacot, RITMO, University of Oslo |
|
|
16:30 - 17:00 |
› 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 |
|
|
17:00 - 17:30 |
› 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 |
|
|
16:00 - 17:30
|
Enregistrement et diversité culturelle mondiale (C203) |
(+)
|
|
16:00 - 17:30 |
› 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 - Jeremy Peters, Wayne State University |
|
|
16:00 - 17:30
|
Pratiques, médiations et intermédiaires de l'enregistrement (C204) |
(+)
|
|
16:00 - 17:30 |
› 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 |
|
|
18:00 - 21:00
|
Cocktail - en partenariat avec les revues Popular Music et Volume! |
|
| Heures |
événement |
(+)
|
|
08:40 - 09:00
|
Accueil |
|
|
09:00 - 10:30
|
Pratiques, médiations et intermédiaires de l'enregistrement (C109) |
(+)
|
|
09:00 - 09:30 |
› 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 |
|
|
09:30 - 10:00 |
› 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] |
|
|
10:00 - 10:30 |
› Windows onto a Radio City - Richard Anderson, University of Liverpool, Institute of Popular Music - Nina Himmelreich, University of Liverpool, Institute of Popular Music |
|
|
09:00 - 10:30
|
Les enregistrements et leur réception (C116) |
(+)
|
|
09:00 - 09:30 |
› Jungle as Post-Rave - Angus Maclaurin, Royal Melbourne Institute of Technology |
|
|
09:30 - 10:00 |
› Les traces des émotions dans les concerts de Mylène Farmer - Isabelle Marc, Universidad Complutense de Madrid |
|
|
10:00 - 10:30 |
› Cause, baby, when I heard you... Kylie Minogue, iPod, and the Poetics/Aesthetics of Y2K Recorded Sound Data - Konrad Sierzputowski, University of Warsaw |
|
|
09:00 - 10:30
|
Enregistrement et intelligence artificielle (C106) - Serge Lacasse |
(+)
|
|
09:00 - 09:30 |
› 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 |
|
|
09:30 - 10:00 |
› 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 |
|
|
10:00 - 10:30 |
› Voice of the Past, Sound of the Future: Legal and Industry Implications of Generative AI in Music - Patryk Galuszka, University of Lódź = Uniwersytet Łódzki |
|
|
09:00 - 10:30
|
Enregistrement et diversité culturelle mondiale (C113) - Michaël Spanu |
(+)
|
|
09:00 - 09:30 |
› Entangled between hardware and software infrastructure: Assamese Popular music making in studios in Guwahati, Assam - Gogoi Dishanka, University of California, Merced |
|
|
09:30 - 10:00 |
› Masterpieces Produced under Abnormal Conditions: Korean Pop Records in 1973 - Hyunjoon Shin, Sungkonghoe University |
|
|
10:00 - 10:30 |
› Pop-Rock and the Global Transformation of Musicking - Motti Regev, The Open University of Israel |
|
|
09:00 - 10:30
|
L’enregistrement comme texte pour l’analyse (C110) - Barbara Lebrun |
(+)
|
|
09:00 - 09:30 |
› The Tension Between Text and Perspective: Re-Examining Progressive Rock's Narrative Complexity through The Wall - Xiaodan Zhang, Shanghai Conservatory of Music |
|
|
09:30 - 10:00 |
› The 'Grace Jones Sound' on and off the record - Isaac Milhofer, The University of Manchester |
|
|
10:00 - 10:30 |
› Sleater-Kinney's Dig Me Out and the Poetics of the Studio - Asbjorn Gronstad, University of Bergen |
|
|
09:00 - 10:30
|
De l’enregistrement aux data et à la plateformisation (C111) - John Mullen |
(+)
|
|
09:00 - 09:30 |
› La playlist numérique comme dispositif de subjectivation : pour une poétique du commissariat - Stéphane Girard, Université de Hearst |
|
|
09:30 - 10:00 |
› Subjectivity, Culture and the Datafication of Music - David Hesmondhalgh, University of Leeds |
|
|
10:00 - 10:30 |
› Sound Bias: the impact of Spotify's royalty distribution policy on listener consumption patterns - Gordon Dimitrieff, Antwerp Management School |
|
|
09:00 - 10:00
|
Dramaturgie et imaginaire dans le rock et le metal (C115) - Christophe Pirenne |
(+)
|
|
09:00 - 09:30 |
› « 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 |
› Addressing and representing the audience in arena rock: authority and deference in recorded and live music - Marion Brachet, Université Sorbonne Nouvelle / IRMÉCCEN |
|
|
09:00 - 10:30
|
L’enregistrement et les études de genre (C203) - Florence Tamagne |
(+)
|
|
09:00 - 10:30 |
› PANEL - "J'ai Deux Amours”: Recording Pop Music's Queer Articulations - Alyxandra Vesey, University of Alabama - Amy Skjerseth - Sam Murray |
|
|
10:30 - 11:00
|
Pause café |
|
|
11:00 - 11:45
|
Conférence plénière : The Power of the Erotic in Dancing as an Experience of Recording and Unrecording Embodiment (Amphithéâtre) - Amparo Lasen |
|
|
11:45 - 12:30
|
Conférence plénière : Love Songs in the Liminosphere: On Hearing the More-than-Human in Popular Music [modératrice: Samantha Bennett] (Amphithéâtre) - Dylan Robinson & Martin Daughtry |
|
|
12:30 - 14:00
|
Déjeuner |
|
|
14:00 - 15:30
|
Texte, musique et image (C109) - Jason Julliot |
(+)
|
|
14:00 - 14:30 |
› The Imagined Things: On Solange, Repetition and Mantra - Kwame Phillips, University of Southampton |
|
|
14:30 - 15:00 |
› From Coldplay to Purcell: Music Videos as a Bridge Between Classical and Popular Music - Kyung Young Chung, Hanyang University |
|
|
15:00 - 15:30 |
› The Role of Popular Music in the Marvel Cinematic Universe: Guardians of the Galaxy (2014) - Martín Carla, Universidad de Oviedo = University of Oviedo |
|
|
14:00 - 15:30
|
L’enregistrement comme texte pour l’analyse (C110) |
(+)
|
|
14:00 - 14:30 |
› How We're Hooked: A Framework for Analysing Hooks in Pop Music - Jadey O'Regan, University of Sydney - Tim Byron, University of Wollongong |
|
|
14:30 - 15:00 |
› The unknown details in the song 'Yesterday' by the Beatles - Jan Hemming, University of Kassel |
|
|
15:00 - 15:30 |
› Neoriemannian interpretations of Chano Domínguez's improvised solos: Jazz and Flamenco in dialogue - Rosa María García Mira, Universidad Complutense de Madrid |
|
|
14:00 - 15:30
|
Les enregistrements et leur réception (C116) - Justin Williams |
(+)
|
|
14:00 - 14:30 |
› Listening Again to Echo: The Aesthetics of Pop and British Postwar Anxieties - Matthew Ord, Newcastle University [Newcastle] |
|
|
14:30 - 15:00 |
› The reception and performance of recorded music in queer women's clubs - Katherine Griffiths, Royal Holloway [University of London] |
|
|
15:00 - 15:30 |
› Seeing reggaeton through the lenses of Spanish music criticism - Marina Arias Salvado, Universidad Complutense de Madrid = Complutense University of Madrid [Madrid] |
|
|
14:00 - 15:30
|
Enregistrement et diversité culturelle mondiale (C113) - Claude Chastagner |
(+)
|
|
14:00 - 14:30 |
› Records of a different sounding Peruvian past. Domestic reissue labels as decolonial options. - Agustina Checa, Lehman College [CUNY] |
|
|
14:30 - 15:00 |
› The fandango and safeguarding with Papagaio Loro Records - Ana Paula Coelho, Ana Paula dos Santos Coelho, UNESPAR |
|
|
15:00 - 15:30 |
› “Staying all true to the borough”? Hip-Hop heritage, tourism and urban change in New York - Séverin Guillard, Habiter le Monde - UR 4287 |
|
|
14:00 - 15:30
|
Enregistrement et intelligence artificielle (C106) - Serge Lacasse |
(+)
|
|
14:00 - 14:30 |
› Who owns this Voice? The Afterlife of Singers in the Age of Generative Technology - Ginger Dellenbaugh, The New School |
|
|
14:30 - 15:00 |
› Sakamoto of Bits and Pieces: Recordings as the Material That Musicians Are Made of - Oliver Seibt, University of Amsterdam |
|
|
15:00 - 15:30 |
› Towards an Aesthetics of Digital Emotion: Examining Emotion in AI Music Composition Process - Emmie Head, UCLA Department of Musicology, IASPM-US |
|
|
14:00 - 15:30
|
L'enregistrement comme média (C203) - Samantha Bennett |
(+)
|
|
14:00 - 15:30 |
› 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
|
Ludomusicologie (C111) |
(+)
|
|
14:00 - 14:30 |
› From Fandom to Brandom: The Commodification of UGC in Video Games - Febrer Coll Eulalia, Universidad Internacional de la Rioja |
|
|
14:30 - 15:00 |
› 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 |
|
|
15:00 - 15:30 |
› A Different Kind of Recording: Preserving, Emulating and Analysing Early Video Game Music - Mattia Merlini, Università degli Studi di Milano = University of Milan |
|
|
14:00 - 15:30
|
L'enregistrement comme média (C204) |
(+)
|
|
14:00 - 15:30 |
› 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 |
|
|
15:30 - 16:00
|
Pause café |
|
|
16:00 - 17:30
|
Pratiques, médiations et intermédiaires de l'enregistrement (C109) - Oded Erez |
(+)
|
|
16:00 - 16:30 |
› How Storage Conventions Shape Creativity, Collaboration, and New Works: Preliminary Findings from an Ethnographic Analysis of Music Studios - Taylor Price, New York University |
|
|
16:30 - 17:00 |
› Beyond Representation: Fabricating Immediacy in Recent Pop Songs - Caleb Herrmann, University of Chicago |
|
|
17:00 - 17:30 |
› On the Record: Talking about Vinyl and Its Role in Wellington's Urban Imaginary - Geoff Stahl, Victoria University of Wellington |
|
|
16:00 - 17:30
|
Enregistrement et diversité culturelle mondiale (C203) |
(+)
|
|
16:00 - 17:30 |
› 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
|
Lien avec les sound studies (C204) |
(+)
|
|
16:00 - 17:30 |
› 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
|
L'enregistrement comme média (C110) |
(+)
|
|
16:00 - 16:30 |
› Rococo-style Vocals and Multitrack Recording Practice: Mariah Carey's Studio Performance in Butterfly - Jinhao Liu, Shanghai Conservatory of Music |
|
|
16:30 - 17:00 |
› "Vocalese as Mediation: Reinterpreting Recorded Music from Miles Davis to Michael Mayo" - Ellie Martin, University of Toledo |
|
|
17:00 - 17:30 |
› Implementation of “salience” in music analysis assignments - Sirman Berk, Dalarna University, Stockholm University |
|
|
16:00 - 17:30
|
De l’enregistrement aux data et à la plateformisation (C115) |
(+)
|
|
16:00 - 16:30 |
› Engineered inequity: Music streaming taxonomies as ruinous infrastructure - CAMPOS VALVERDE Raquel, University of Leeds |
|
|
16:30 - 17:00 |
› Digital Transformation and the Impact of Streaming on Popular Music in Emerging Markets - Ofochebe Kenechukwu Obinna, University of Agder |
|
|
17:00 - 17:30 |
› Exploring the creative autonomy of afrobeats artists in the music streaming era - Laura Etemah, University of Groningen [Groningen] |
|
|
16:00 - 17:30
|
L’enregistrement et les études de genre (C111) |
(+)
|
|
16:00 - 16:30 |
› Enregistrement comme tactique de (re)existence: pratiques de compositrices de la capitale du Brésil - Ana Leitão, Leitão |
|
|
16:30 - 17:00 |
› Laura Sisk and the Sound of Female Pop Empowerment - Christa Bentley, University of Arkansas [Fayetteville] |
|
|
17:00 - 17:30 |
› Resisting definition: Subverting gender narratives through vocal manipulation software - Ashley Stein, Edinburgh Napier University |
|
|
16:00 - 17:30
|
Enregistrement et intelligence artificielle (C106) - Patryk Gałuszka |
(+)
|
|
16:00 - 16:30 |
› Can AI Prompt a Revolution in Master Rights Ownership? - Richard Osborne, University of Glasgow |
|
|
16:30 - 17:00 |
› 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] |
|
|
17:00 - 17:30 |
› “It does the science for you” – Machine listening and personalization in music production - Max Alt, Universität Bonn = University of Bonn |
|
|
16:00 - 17:30
|
Les enregistrements et leur réception (C116) |
(+)
|
|
16:00 - 16:30 |
› “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 |
|
|
16:30 - 17:00 |
› La circulation et les écoutes du choro à travers la radio et le disque - Lúcia Campos, UEMG |
|
|
17:00 - 17:30 |
› The epic and the eclectic: the sound of contemporary progressive rock - Ivan Tan, Brown University |
|
|
16:00 - 17:30
|
Enregistrement et live, enregistrement et performance (C113) |
(+)
|
|
16:00 - 16:30 |
› Reimagining Broadway With Live Television: A Case Study of The Wiz Live! - Ye Rin Kang, University of Edinburgh |
|
|
16:30 - 17:00 |
› Filmer le rock pour la télévision : entre enregistrement sonore et tournage live - Maxime Guebey, Centre d'études supérieures de la Renaissance UMR 7323 |
|
|
17:00 - 17:30 |
› Cape Town Sinatras: Enlivened Recordings and Critical Nostalgia in Postapartheid Performance - Francesca Inglese, Northeastern University |
|
| Heures |
événement |
(+)
|
|
08:40 - 09:00
|
Accueil |
|
|
09:00 - 10:30
|
Pratiques, médiations et intermédiaires de l'enregistrement (C109) - Sébastien Lebray |
(+)
|
|
09:00 - 09:30 |
› “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 |
|
|
09:30 - 10:00 |
› 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 |
|
|
10:00 - 10:30 |
› Towards a Practice-Based Popular Musicology for Record Production - Ingvild Koksvik, University of Agder |
|
|
09:00 - 10:30
|
Enregistrement et intelligence artificielle (C106) - Patryk Gałuszka |
(+)
|
|
09:00 - 09:30 |
› Music Production and the Impacts of Artificial intelligence: Redefining Creativity and Efficiency in the Recording Studios - Ruzbeh Smiley, University of Agder |
|
|
09:30 - 10:00 |
› “A safe, responsible, and profitable ecosystem of music”: Music industry culture in the age of generative AI - CAMPOS VALVERDE Raquel, University of Leeds - D. Bondy Valdovinos KAYE, University of Leeds |
|
|
10:00 - 10:30 |
› Methodological Approaches to AI Music Platformization - Avdeeff Melissa, University of Stirling |
|
|
09:00 - 10:30
|
Masculinités (C111) - Isabelle Marc |
(+)
|
|
09:00 - 09:30 |
› 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 |
|
|
09:30 - 10:00 |
› The Recording Industry ‘Boys Club' - Goodwin Grace, IASPM, University of Liverpool |
|
|
10:00 - 10:30 |
› 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] |
|
|
09:00 - 10:30
|
Les musiques enregistrées comme patrimoine (C115) - Jean-Christophe Sevin |
(+)
|
|
09:00 - 09:30 |
› Films and/as Records: Popular Recordings and Pre-Soundtrack-Era Cinema - Mary Celeste Kearney, University of Notre Dame [Indiana] |
|
|
09:30 - 10:00 |
› Displaying recorded music as a cultural artefact in UK museums - Jamie Johnson, University of West London |
|
|
10:00 - 10:30 |
› In these hallowed halls: Recording studios as sites of musical heritage - Christina Ballico, University of Aberdeen |
|
|
09:00 - 10:30
|
Enregistrement et live, enregistrement et performance (C116) |
(+)
|
|
09:00 - 09:30 |
› ‘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] |
|
|
09:30 - 10:00 |
› The Evolution of Program Music (PGM) in Taiwan's Live Music Scene: Aesthetics, Authenticity, and Practice - YuanYen Hsu, IASPM international, National Taiwan University |
|
|
10:00 - 10:30 |
› “Meat Grinder”: Performing Experimental Hip-Hop - Alex Stevenson, Leeds Beckett University - Ragnhild Brøvig, University of Oslo |
|
|
09:00 - 10:30
|
Enregistrement et économie de la musique (C203) |
(+)
|
|
09:00 - 10:30 |
› 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
|
Enregistrement et diversité culturelle mondiale (C204) - Emmanuel Parent |
(+)
|
|
09:00 - 10:30 |
› PANEL - Music Heritage, Migration and Identity - Sara Cohen, Lisa Shaw, Richard G Smith, Jacqueline Waldock, Abigail Gardner |
|
|
09:00 - 10:30
|
L’enregistrement comme technique de traitement du signal (C113) |
(+)
|
|
09:00 - 09:30 |
› Recording Ñanda Mañachi: Towards a typology of Chopin Thermes's mobile studio - Osejo Carlos, Universidad Complutense de Madrid = Complutense University of Madrid [Madrid] |
|
|
09:30 - 10:00 |
› Imagination Machines? - Music Production, Automation and the Creative Misuse of Audio Technology - Tom Morris, Kingston University [London] |
|
|
10:00 - 10:30 |
› Towards an interface theory of digital audio workstations - Emil Kraugerud, University of Oslo |
|
|
09:00 - 10:30
|
De l’enregistrement aux data et à la plateformisation (C110) |
(+)
|
|
09:00 - 09:30 |
› Self-Brand or Be Branded Out: The Convergence of Mainstream and Independent Talent Scouting Under Platform Capitalism - Raffa Massimiliano, University of Insubria |
|
|
09:30 - 10:00 |
› 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 |
|
|
10:00 - 10:30 |
› Reshaping Music Recording in the Age of Digital Streaming - MIaoju Jian, National Chung-Cheng University |
|
|
10:30 - 11:00
|
Pause café |
|
|
11:00 - 11:45
|
Conférence plénière : Sounding a Queer Rebellion: Recording as activism and social resistance in Latin America (Amphithéâtre) - Fiorella Montero-Diaz |
|
|
11:45 - 12:30
|
Conférence plénière : What Am I Missing? – recordings as schematic representations (Amphithéâtre) - Simon Zagorski-Thomas |
|
|
12:30 - 14:00
|
Déjeuner |
|
|
13:15 - 14:00
|
Session de présentations de livres - Vous pourrez présenter brièvement votre ouvrage paru récemment durant cette session. Merci de nous contacter si vous souhaitez le faire. |
|
|
14:00 - 15:30
|
L'enregistrement comme média (C109) |
(+)
|
|
14:00 - 14:30 |
› 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 |
|
|
14:30 - 15:00 |
› 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 |
|
|
15:00 - 15:30 |
› The Uncertain Journey from Recording to Publication: A Case Study of Chinese Rapper KeyNG - Wuyi Zhang, School of Music, Jianghan University |
|
|
14:00 - 15:30
|
Usages des enregistrements et pratiques de danse (C110) |
(+)
|
|
14:00 - 14:30 |
› Sound Methods for a New World: Participatory and Co-Creative Methods in Electronic Dance Music Research - Luis Manuel GARCIA-MISPIRETA, University of Birmingham [Birmingham] |
|
|
14:30 - 15:00 |
› From Giordano to Jazzercise: Records, repeated long play, and physical education - Tim Anderson, Old Dominion University [Norfolk] |
|
|
15:00 - 15:30 |
› Sounding Cosmopolitan Modernity at the Magic-City “Palais du Tango” - Benn Sophie, Butler University |
|
|
14:00 - 15:30
|
L’enregistrement comme technique de traitement du signal (C106) - Catherine Guesde |
(+)
|
|
14:00 - 14:30 |
› 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 |
|
|
14:30 - 15:00 |
› Listening for Loudness: Amplification Effects in Studio and Live Performance - Steve Waksman, University of Huddersfield |
|
|
15:00 - 15:30 |
› Virtuoso Double-Tracking in the Music of Frank Zappa - Brett Clement, Ball State University |
|
|
14:00 - 15:30
|
Le studio d’enregistrement et ses différents formats (C115) |
(+)
|
|
14:00 - 14:30 |
› Global Studios and Audiotopias: Facilitating Liberatory Spaces in Remote Ensemble Recordings - Emily Evans, California Institute of the Arts |
|
|
14:30 - 15:00 |
› Entre enjeux locaux et défis globaux : état des lieux des studios d'enregistrement à Liège (Belgique) - Chloé Violle, Université de Liège |
|
|
15:00 - 15:30 |
› 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 - 15:30
|
Lien avec les sound studies (C116) |
(+)
|
|
14:00 - 14:30 |
› Sonic Air-Conditioning: Towards a Climatology of Recorded Background Music in South Africa - Willemien Froneman, Stellenbosch University |
|
|
14:30 - 15:00 |
› Echoes of the Past: Reverb and the Construction of Sonic Space - Benjamin DuPriest, Georgia State University |
|
|
15:00 - 15:30 |
› “Use This Sound”: Audio Ontologies in the Short-Form Video Ecosystem - Paula Harper, University of Chicago |
|
|
14:00 - 15:30
|
L'enregistrement comme média (C203) |
(+)
|
|
14:00 - 15:30 |
› 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
|
Enregistrement et économie de la musique (C204) - Michaël Spanu |
(+)
|
|
14:00 - 15:30 |
› 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
|
Enregistrement et diversité culturelle mondiale (C113) - Barbara Lebrun |
(+)
|
|
14:00 - 14:30 |
› 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 |
|
|
14:30 - 15:00 |
› 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 |
› Trot Record: A Populist Medium? - Keewoong Lee, Institute for East Asian Studies, SungKongHoe University |
|
|
15:30 - 16:00
|
Pause café |
|
|
16:00 - 17:30
|
Les enregistrements et leur réception (C106) |
(+)
|
|
16:00 - 16:30 |
› 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 |
|
|
16:30 - 17:00 |
› Affective Lisping in Contemporary Popular Music Recording - Anthony Harrison, Virginia Tech [Blacksburg] |
|
|
17:00 - 17:30 |
› 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 |
|
|
16:00 - 17:30
|
L'enregistrement comme média (C110) - Marion Brachet |
(+)
|
|
16:00 - 16:30 |
› Digital Technology, Musical Pleasure and Fascist Fantasy in the Postliberal Age - Nadav Appel, Sapir Academic College, Bar-Ilan University [Israël] |
|
|
16:30 - 17:00 |
› Recordings as Media of Memory: Listening to Marginalized Voices after Far-Right Violence - Monika E. Schoop, Leuphana University Lüneburg |
|
|
17:00 - 17:30 |
› Reframing the history of rock: The first reception of rock and roll in Spain (1956-1963) - Iván Iglesias, Universidad de Valladolid [Valladolid] |
|
|
16:00 - 17:00
|
Enregistrement et diversité culturelle mondiale (C113) - Elsa Grassy |
(+)
|
|
16:00 - 16:30 |
› Recording the ‘True Voice' of the Scottish People: The School of Scottish Studies - Héloïse Cornelius, Centre d'histoire de Sciences Po (Sciences Po) |
|
|
16:30 - 17:00 |
› Backing into the Future: Recording Irish Folk Music - Stan Erraught, University of Leeds |
|
|
16:00 - 17:30
|
Home studios (C115) - Baptiste Bacot |
(+)
|
|
16:00 - 16:30 |
› Approaching the Home Studio as a Professional Workspace: Challenges and Rewards for Independent Musicians - Jeremy Vachet - Laboratoire des Sciences de l'Information et de la Communication |
|
|
16:30 - 17:00 |
› Bedroom production, container technologies and young female artists. From tapes to TikTok - Ann Werner, Uppsala University [speaker] ; Veronika Muchitsch, Södertörn University [co-author] |
|
|
17:00 - 17:30 |
› The Sound of Home: intention, genre and process, the artist's view - Paula Wolfe, London College of Music, University of West London |
|
|
16:00 - 17:00
|
De l’enregistrement aux data et à la plateformisation (C116) |
(+)
|
|
16:00 - 16:30 |
› Impact of Digitalization in Distribution of Music in Spain - Neval Turhalli, Universitat Oberta de Catalunya [Barcelona] |
|
|
16:30 - 17:00 |
› From Myspace to Spotify: New Market Challenges for Portuguese Indie Labels - Luiz Alberto Moura, Universidade do Minho = University of Minho [Braga] |
|
|
16:00 - 17:30
|
L'enregistrement comme média (C203) |
(+)
|
|
16:00 - 17:30 |
› 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
|
Enregistrement et live, enregistrement et performance (C204) - Michaël Spanu |
(+)
|
|
16:00 - 17:30 |
› 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
|
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 |
|
| Heures |
événement |
(+)
|
|
08:30 - 08:45
|
Accueil |
|
|
08:45 - 10:15
|
Enregistrements et politiques (C115) - Sébastien Lebray |
(+)
|
|
08:45 - 09:15 |
› Rock In Opposition: bringing together ideology and aesthetics in the recording studio - Jacopo Costa, ACCRA |
|
|
09:15 - 09:45 |
› “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 |
|
|
09:45 - 10:15 |
› The rebellion power of pop - An exploration of popular music in Hong Kong during abeyance after 2019 movement - Sharon Lam, University of Leeds |
|
|
08:45 - 10:15
|
Enregistrement et économie de la musique (C203) - Jason Julliot |
(+)
|
|
08:45 - 10:15 |
› 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
|
Les enregistrements et leur réception (C204) |
(+)
|
|
08:45 - 10:15 |
› 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
|
L’enregistrement sonore comme technique d’enquête ou d'écriture (C110) |
(+)
|
|
08:45 - 09:15 |
› 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 |
|
|
09:15 - 09:45 |
› Recording material conditions of rehearsal space as a methodological strategy - Martin Lussier, Université du Québec à Montréal = University of Québec in Montréal |
|
|
09:45 - 10:15 |
› Vernacular Modernism during the Birth of Recording: Computational Approaches to the History of Tin Pan Alley - Samuel Backer, University of Maine |
|
|
08:45 - 10:15
|
L’enregistrement comme texte pour l’analyse (C116) - Serge Lacasse |
(+)
|
|
08:45 - 09:15 |
› 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 |
|
|
09:15 - 09:45 |
› First recordings of Punto cubano: sound recordings as a source of study - Amaya Carricaburu Collantes, Valencia International University |
|
|
09:45 - 10:15 |
› 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 - 09:45
|
Pratiques, médiations et intermédiaires de l'enregistrement (C109) |
(+)
|
|
08:45 - 09:15 |
› 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 |
|
|
09:15 - 09:45 |
› 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 |
|
|
08:45 - 10:15
|
L’enregistrement et les études de genre (C111) - Emmanuel Parent |
(+)
|
|
08:45 - 09:15 |
› “Uncle Johnny Made My Dress”: Beyoncé, Renaissance, and Capitalization of Black Queer Cultures - Lauron Kehrer, Western Michigan University [Kalamazoo] |
|
|
09:15 - 09:45 |
› Silent No More: The Power of Women's Voices in Recordings of Local Traditions - Julia Escribano, Universidad de Valladolid |
|
|
09:45 - 10:15 |
› “¿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] |
|
|
10:15 - 10:45
|
Pause café |
|
|
10:45 - 11:30
|
Conférence plénière : Culture, Commerce, and Authenticity: Black British Recordings in Context (Amphithéâtre) - Mike Alleyne |
|
|
11:30 - 11:45
|
Pause |
|
|
11:45 - 13:15
|
L'enregistrement comme média (C203) |
(+)
|
|
11:45 - 13:15 |
› 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
|
Pratiques, médiations et intermédiaires de l'enregistrement (C204) - Oded Erez |
(+)
|
|
11:45 - 13:15 |
› 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
|
Joni Mitchell (C106) |
(+)
|
|
11:45 - 12:15 |
› "Lesson in Survival: Joni Mitchell Goes Her Own Way, Again" - Norma Coates, University of Western Ontario |
|
|
12:45 - 13:15 |
› ‘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 |
› “Remixing ‘Marcie': Comparing Recordings of Joni Mitchell's Early Style” - Taylor Greer, Pennsylvania State University |
|
|
11:45 - 13:15
|
Les enregistrements et leur réception (C110) |
(+)
|
|
11:45 - 12:15 |
› The absence of music (recordings): Student responses to a ‘No Music Listening Challenge' - Rebecca Rinsema, Northern Arizona University [Flagstaff] |
|
|
12:15 - 12:45 |
› The recording of popular music in graphic novels: approach to three cases - Cristian Guerra-Rojas, Universidad de Chile = University of Chile [Santiago] |
|
|
12:45 - 13:15 |
› Recorded Music and the Policing of Multivocality: The Case of Fousheé - Chris Tonelli, University of Groningen |
|
|
11:45 - 12:45
|
Histoire de l'industrie phonographique (C109) |
(+)
|
|
11:45 - 12:15 |
› 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 |
|
|
12:15 - 12:45 |
› Traces phonographiques de la vie musicale au Québec : les registres de la compagnie Compo, 1921-1949 - Sandria P. Bouliane, Université Laval |
|
|
11:45 - 13:15
|
Enregistrement et live, enregistrement et performance (C111) |
(+)
|
|
11:45 - 12:15 |
› Phaedra at 50 and the band as brand: heritage, nostalgia, legitimacy, and aura - Chris Anderton, Southampton Solent University |
|
|
12:15 - 12:45 |
› The New Album Europe Tour 2025 - Sydney Schelvis, University of Amsterdam [Amsterdam] = Universiteit van Amsterdam |
|
|
12:45 - 13:15 |
› Musical Asceticism in Kino's Recordings and Re-recordings - Sangheon Lee, University of Huddersfield |
|
|
11:45 - 12:45
|
L’enregistrement comme technique de traitement du signal (C116) - Samantha Bennett |
(+)
|
|
11:45 - 12:15 |
› 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 |
|
|
12:15 - 12:45 |
› Malfunction as Queer Failure: The Anti-Telos of the Glitch - Rory Fewer, University of California [Riverside] |
|
|
11:45 - 13:15
|
Musique live en ligne (C115) - Sergio Pisfil |
(+)
|
|
11:45 - 12:15 |
› Platformization and Enjoyment of Live-streamed Music Events - Francesco D'Amato, Università degli Studi di Roma |
|
|
12:15 - 12:45 |
› Being Live in the Metaverse: Recorded Music in the Age of Web 3.0 - Vincent Granata, Nantes Université - UFR Lettres et Langages |
|
|
12:45 - 13:15 |
› Fifty shades of the same song. Music circulation and versioning in the age of the Web - Loïc Riom, Université de Lausanne = University of Lausanne |
|
|
11:45 - 12:45
|
Enregistrement et diversité culturelle mondiale (C113) |
(+)
|
|
11:45 - 12:15 |
› Musical Diaspora and Cultural Identity: Examining the Journey of Más allá de la Bossa Nova - Ana Barbosa, University of Barcelona |
|
|
12:15 - 12:45 |
› "Mighty Dreams & Southern Scenes: Listening to Pharrell Williams, Black Virginians and Ambition” - Danielle Davis, Florida State University [Tallahassee] |
|
|
13:15 - 14:30
|
Déjeuner |
|
|
14:30 - 16:00
|
Assemblée Générale (Amphithéâtre) - IASPM |
|
|
16:00 - 16:30
|
Pause |
|
|
16:30 - 18:00
|
Enregistrement et intelligence artificielle (C106) - Serge Lacasse |
(+)
|
|
16:30 - 17:00 |
› Slime, Resonance, and Recording: on Slime Language (2018) - L Holland, University of Bristol [Bristol] |
|
|
17:00 - 17:30 |
› The Emergence and Potential Decline of Cloud-Based Sample Platforms - Vemund Hegstad Alm, University of Oslo - Ragnhild Brøvig, University of Oslo |
|
|
17:30 - 18:00 |
› Towards AI-mediated Interactive Listening on the Streaming Platform as a New Hybrid Media - Hiroko Nishida, Faculty of Design, Kyushu University - Taketoshi Ushiama, Faculty of Design, Kyushu University |
|
|
16:30 - 18:00
|
Enregistrement et diversité culturelle mondiale (C203) |
(+)
|
|
16:30 - 18:00 |
› 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
|
L’enregistrement comme technique de traitement du signal (C204) - Samantha Bennett |
(+)
|
|
16:30 - 18:00 |
› 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
|
Pratiques, médiations et intermédiaires de l'enregistrement (C109) |
(+)
|
|
16:30 - 17:00 |
› Cleaning Up Rap Recordings for Radio - Amy Coddington, Amherst College |
|
|
17:00 - 17:30 |
› EBOY1: Ellen plays bass - Tobias Marx, University of Erfurt |
|
|
17:30 - 18:00 |
› “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 |
|
|
16:30 - 18:00
|
Enregistrement et live, enregistrement et performance (C110) |
(+)
|
|
16:30 - 17:00 |
› Collaborative composition approaches for Balinese gamelan on screen and stage - Joshua Robinson, Australian National University |
|
|
17:00 - 17:30 |
› ‘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 |
|
|
17:30 - 18:00 |
› Heilung's Lifa: the audiovisual experience in a performance's recording - Elise Girard-Despraulex, Faculté de musique - Université Laval, CEAC - Université de Lille |
|
|
16:30 - 18:00
|
Enregistrement et diversité culturelle mondiale (C113) - Oliver Seibt |
(+)
|
|
16:30 - 17:00 |
› Capturing Authenticities: The Nueva Canción of the Southern Cone Between Archiving the Marginalized and Disseminating Emancipatory Discourses - Annika Rink, Universität Kassel [Kassel] |
|
|
17:00 - 17:30 |
› Alternative Expressions of Chineseness: Dow Wei's Electronic Dance Music - Ko-Hua Hung, University of California , Davis |
|
|
17:30 - 18:00 |
› 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 |
|
|
16:30 - 18:00
|
Musique en temps de COVID (C111) - Marion Brachet |
(+)
|
|
16:30 - 17:00 |
› Familiarity Breeds Content: Tom Rosenthal, Viral Nostalgia, and a ‘Home' for Coronamusic. - Lou Aimes-Hill, University of Leeds |
|
|
17:00 - 17:30 |
› “Please Tag Me!” Platformization Practices of Busking in Times of the (Post)Pandemic - Ptatscheck Melanie, New York University | Leuphana University Lüneburg |
|
|
17:30 - 18:00 |
› Coffee Shop Ambience Music Videos. Suggestion and emotional self-care during the Coronavirus pandemic - Sara Revilla Gútiez, Escola Superior de Música de Catalunya |
|
|
16:30 - 18:00
|
Les enregistrements et leur réception (C115) |
(+)
|
|
16:30 - 17:00 |
› “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 |
|
|
17:00 - 17:30 |
› 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] |
|
|
17:30 - 18:00 |
› “To age is a sin”: Madonna's audible disruptions of chrononormativity - Hannah Schiller, Department of Music, Yale University |
|
|
16:30 - 18:00
|
De l’enregistrement aux data et à la plateformisation (C116) |
(+)
|
|
16:30 - 17:00 |
› “Nostalgic Echo”: Why Do Chinese Adolescents Prefer Low-Quality Audio of Henan Opera? - Shang Gao, Communication University of China |
|
|
17:00 - 17:30 |
› 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 |
|
|
17:30 - 18:00 |
› Nostalgia Mode At Play: Saltburn Club Nights and The Shaping of a Platformed Past - Max Kaplan, University of Wisconsin-Madison |
|
| Heures |
événement |
(+)
|
|
08:40 - 09:00
|
Accueil |
|
|
09:00 - 10:30
|
Enregistrement et diversité culturelle mondiale (C203) |
(+)
|
|
09:00 - 10:30 |
› 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
|
Les musiques enregistrées comme patrimoine (C204) - Jean-Christophe Sevin |
(+)
|
|
09:00 - 10:30 |
› 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
|
Reprises (C116) - Serge Lacasse |
(+)
|
|
09:00 - 09:30 |
› Du standard au oldie : la reprise comme affirmation de l'autorité créatrice de l'enregistrement (1955-1958) - Claire Fraysse, Institut de Recherche en Musicologie |
|
|
09:30 - 10:00 |
› “Seasons in the Sun” – The many lives of a French/American/Canadian world hit - Henrik Smith-Sivertsen, Henrik Smith-Sivertsen, Royal Danish Library |
|
|
10:00 - 10:30 |
› 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 |
|
|
09:00 - 10:30
|
L’enregistrement et les études de genre (C111) - Florence Tamagne |
(+)
|
|
09:00 - 09:30 |
› Spanish punk discography: bands of women and queer people - María Alonso, Universidad de Oviedo = University of Oviedo |
|
|
09:30 - 10:00 |
› 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 |
› From shoegazing to twerking: the discursive use of dance in Zahara's live performances - Sara Armada Díaz, University of Granada |
|
|
09:00 - 10:00
|
Politics and counterculture (C110) - Catherine Guesde |
(+)
|
|
09:00 - 09:30 |
› Rentgenizdat, Magnitizdat, Samizdat: Grassroots Music Recording and Cultural Resistance in the Soviet Union - Ekaterina Ganskaya, Università degli studi di Torino = University of Turin |
|
|
09:30 - 10:00 |
› Indigenous popular music and pipeline protests in North America - Shanna Lorenz, Occidental College |
|
|
09:00 - 10:30
|
Enregistrement et live, enregistrement et performance (C106) - Oliver Seibt |
(+)
|
|
09:00 - 09:30 |
› The Politics of ‘Liveness': The Use of Recording in K-Pop Performance - Linzi Yang, The University of Birmingham |
|
|
09:30 - 10:00 |
› 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 |
|
|
10:00 - 10:30 |
› Drummer Fingerprints: Microtiming and Tempo Variability in Studio and Live Recordings - David Carter, Loyola Marymount University - Ralf Von Appen, mdw-Vienna |
|
|
09:00 - 10:30
|
Les enregistrements et leur réception (C115) - Samantha Bennett |
(+)
|
|
09:00 - 09:30 |
› Immersive Music – Recording and Re-recording in Popular Music Production For Commercial Releas - Andrew Bourbon, (University of Huddersfield) |
|
|
09:30 - 10:00 |
› Psychedelic Aesthetics and the Art of DJing: Notes from the US Rave Underground - Victor Szabo, Hampden-Sydney College |
|
|
10:00 - 10:30 |
› Modern Analog Listening and the Transculturation of the Japanese Jazz Kissa - Mark Katz, University of North Carolina at Chapel Hill [NC, USA] |
|
|
09:00 - 10:30
|
Enregistrement et économie de la musique (C109) |
(+)
|
|
09:00 - 09:30 |
› Uncertainty and challenges in the Peruvian recording industry - Sergio Pisfil, Universidad Peruana de Ciencias Aplicadas (Lima) - Juan Alberto Mata, Universidad Peruana de Ciencias Aplicadas |
|
|
09:30 - 10:00 |
› Music festivals and climate resilience in Australia - Catherine Strong, Royal Melbourne Institute of Technology University |
|
|
10:00 - 10:30 |
› 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 |
|
|
10:30 - 11:00
|
Pause café |
|
|
11:00 - 12:30
|
L’enregistrement comme texte pour l’analyse (C106) |
(+)
|
|
11:00 - 11:30 |
› North American influences on early Spanish Folk Song recordings (1968-1975) - Ruth Piquer, Universidad Complutense de Madrid = Complutense University of Madrid [Madrid] |
|
|
11:30 - 12:00 |
› 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 |
|
|
12:00 - 12:30 |
› The Three Lives of “I'm New Here”: Recording Gentrification and Anti-Gentrification in Gil Scott-Heron's Final Album - Patch Justin, IASPM-US |
|
|
11:00 - 12:30
|
Enregistrement et diversité culturelle mondiale (C203) |
(+)
|
|
11:00 - 12:30 |
› 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
|
Lien avec les sound studies (C204) |
(+)
|
|
11:00 - 12:30 |
› 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 |
|
|
11:00 - 12:30
|
L’enregistrement comme texte pour l’analyse (C110) - Marion Brachet |
(+)
|
|
11:00 - 11:30 |
› “Make the World Great Again”: Laibach and the re-recording of popular music classics as totalitarian anthems - Kimi Kärki, Uniarts Helsinki |
|
|
11:30 - 12:00 |
› Songs in the Key of Life: Stylistic Adaptation and the 1970s Music Industry - Justin Williams, University of Bristol |
|
|
12:00 - 12:30 |
› The Sparkling Shine of #cleancore: Exploring Music Genre on TikTok - Anders Bach Pedersen, University of Copenhagen = Københavns Universitet |
|
|
11:00 - 12:30
|
Festivals (C115) - Florence Tamagne |
(+)
|
|
11:00 - 11:30 |
› Czechoslovak beat festival 1968. Newly discovered recordings shed light on old history - Aleš Opekar, Institute of Art History, Czech Academy of Sciences |
|
|
11:30 - 12:00 |
› 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 |
|
|
12:00 - 12:30 |
› Music, identity and community in depopulated Spain: a map of festivals - Héctor Fouce, Universidad Complutense de Madrid = Complutense University of Madrid [Madrid] |
|
|
11:00 - 12:00
|
L'enregistrement comme média (C113) |
(+)
|
|
11:00 - 11:30 |
› Musical creativity when under pressure - Paolina Aquilino, University of Kassel |
|
|
11:30 - 12:00 |
› Recording Non-human Animals: Multispecies Music Memes as Popular Music - Pascal Rudolph, University of Cologne - Martin Ullrich, Nuremberg University of Music |
|
|
11:00 - 12:30
|
Enregistrement et économie de la musique (C109) |
(+)
|
|
11:00 - 11:30 |
› ‘The state' of the radio: Competition, coordination, and production in the East German state music monopoly, 1971-1989 - Padraig Parkhurst, University of Melbourne |
|
|
11:30 - 12:00 |
› Records for Export: The SweMix and the Sounds of a Small Domestic Market - Eric Weisbard, University of Alabama [Tuscaloosa] |
|
|
12:00 - 12:30 |
› The Revival of 1970s–80s Japanese City Pop: Circulation in a Variegated Musical Economy - Noriko Manabe, Indiana University |
|
|
11:00 - 12:30
|
L’enregistrement et les études de genre (C111) - Katherine Williams |
(+)
|
|
11:00 - 11:30 |
› 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] |
|
|
11:30 - 12:00 |
› “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 |
|
|
12:00 - 12:30 |
› How does gender normativity effect emotion elicitation in music listening, including musical gestures? - Takahiro Miyauchi, Kyushu University - Hirofumi Ueta, Kyushu University |
|
|
12:30 - 14:00
|
Déjeuner |
|
|
14:00 - 15:30
|
Enregistrement et diversité culturelle mondiale (C113) - Vincent Granata |
(+)
|
|
14:00 - 14:30 |
› 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 ; Shih Chia Wu, School of Journalism and Communication, Chinese University of Hong Kong |
|
|
14:30 - 15:00 |
› 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] |
|
|
15:00 - 15:30 |
› Social Media Recordings as Narrative within the Historically Black College and University Ecosystem - Kevin Green, California State Polytechnic University [Pomona] |
|
|
14:00 - 15:30
|
Les enregistrements et leur réception (C106) |
(+)
|
|
14:00 - 14:30 |
› Listening to Vinyl Records in the Digital Age: Expanding Musical Narratives into Listeners' Bodies - Hyunseok Kwon, Hanyang University |
|
|
14:30 - 15:00 |
› Fever on Recordings: Theorising Fashao Audiophile Culture and Localized Sound Practice in Post-Mao China - DENG Haoxian, Hong Kong Baptist University |
|
|
15:00 - 15:30 |
› No shame, no scandal: four French recordings of a Caribbean track - Barbara Lebrun, The University of Manchester |
|
|
14:00 - 15:30
|
Pratiques, médiations et intermédiaires de l'enregistrement (C204) |
(+)
|
|
14:00 - 15:30 |
› 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
|
L’enregistrement comme texte pour l’analyse (C203) |
(+)
|
|
14:00 - 15:30 |
› ROUNDTABLE - Recording Leonard Cohen - David Shumway, Carnegie Mellon University, Robert De Young (Ph. D., independent filmmaker), Loren Glass (University of Iowa), Marcia Pally (New York University), Erin MacLeod (Vanier College, Montreal), Eric Weisbard (University of Alabama) |
|
|
14:00 - 15:30
|
L’enregistrement sonore comme technique d’enquête ou d'écriture (C109) - Sébastien Lebray |
(+)
|
|
14:00 - 14:30 |
› Cultural record: music album as a teaching method in social sciences - Smółka Maciej, Uniwersytet Jagielloński w Krakowie = Jagiellonian University |
|
|
14:30 - 15:00 |
› 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 |
|
|
15:00 - 15:30 |
› Taking Astrology Seriously: Ethnomusicological Approaches to Music, Healing, and the Alignments of the Cosmos - Jose Vicente Neglia, University of Hong Kong |
|
|
14:00 - 15:30
|
De l’enregistrement aux data et à la plateformisation (C110) |
(+)
|
|
14:00 - 14:30 |
› 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 |
|
|
14:30 - 15:00 |
› From Listening to Connection: The Evolution of Chinese Digital Music Platforms for ‘Online Music Socializing' - Manlin Wang, Communication University of China |
|
|
15:00 - 15:30 |
› The Work of the Album in the Age of Streaming Platforms - Jack Melton, University of Melbourne |
|
|
14:00 - 15:00
|
Enregistrer des instruments (C111) - Baptiste Bacot |
(+)
|
|
14:00 - 14:30 |
› 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] |
|
|
14:30 - 15:00 |
› 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 |
|
|
14:00 - 15:00
|
Musiques de film et cinéma musical (C115) |
(+)
|
|
14:00 - 14:30 |
› Hawai‘i in Stereo: Cinerama, Stereophonic Sound, and Hawaiian Statehood - Manan Desai, University of Michigan |
|
|
14:30 - 15:00 |
› 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 |
|
|
14:00 - 15:00
|
Environnement et écologie (C116) |
(+)
|
|
14:00 - 14:30 |
› Recording Environmental Shifts in Popular Music: The Long View - Kathryn Cox, Liverpool Hope University |
|
|
14:30 - 15:00 |
› "Mother Nature, You're Just Showing Off Now" – A Wildlife Documentary Turned Pop Recording - Helene Elisabeth Heuser, Justus-Liebig-Universität Gießen |
|
|
15:30 - 16:00
|
Pause café |
|
|
16:00 - 17:30
|
Politics and counterculture (C106) - Elsa Grassy |
(+)
|
|
16:00 - 16:30 |
› Monterey, Woodstock, Maui: Jimi Hendrix video recordings as countercultural communal representation - Victor Arul, Harvard University |
|
|
16:30 - 17:00 |
› Making Politics, Recording Records: an Atlas of Antagonist Discography - Jacopo Tomatis, Università degli studi di Torino = University of Turin |
|
|
17:00 - 17:30 |
› Sounding Divides: Recorded Music and Affective Polarization in Protest Movements - Melanie Schiller, Radboud university [Nijmegen] |
|
|
16:00 - 17:00
|
Reprises (C109) |
(+)
|
|
16:00 - 16:30 |
› Sous l'enregistrement la musique. Enjeux ontologiques et esthétiques de la reprise acoustique. - Thomas Mercier-Bellevue, Centre Victor Basch, Académie de Lille |
|
|
16:30 - 17:00 |
› 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 |
|
|
16:00 - 17:00
|
Usages des enregistrements et pratiques de danse (C110) |
(+)
|
|
16:00 - 16:30 |
› The Semiotic Power of Techno Music: An Ethnography Exploration - Michele Dentico, Università degli Studi di Roma "La Sapienza" = Sapienza University [Rome] |
|
|
16:30 - 17:00 |
› 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 |
|
|
16:00 - 17:00
|
Enregistrement et diversité culturelle mondiale (C113) |
(+)
|
|
16:00 - 16:30 |
› Home Is Where the #Shanties Are: Recording Songwriters, Rockers, and Shanty Bands in Cornwall - Nicholas Booker, The Ohio State University [Columbus] |
|
|
16:30 - 17:00 |
› The Impact of Socioeconomic Development on Hong Kong's Recording Studios: 1997-2024 - Edmond Tsang, Hong Kong Baptist University |
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16:00 - 17:30
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K-Pop (C203) |
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16:00 - 17:30 |
› PANEL - K-pop in Aotearoa/New Zealand - Kirsten Zemke, University of Auckland - Sun Koo - Sophia Santillan |
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