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? (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 (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 - 15:30
|
Enregistrement, droits et modèles de rémunération (C106) |
(+)
|
|
14:00 - 15:30 |
› 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 |
› 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 |
|
|
15:00 - 15:30 |
› 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) |
(+)
|
|
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) |
(+)
|
|
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) |
(+)
|
|
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, Independent researcher |
|
|
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) |
(+)
|
|
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 |
› Recorded music, digital mixtapes, and a growing historical archive in South Africa - Michael Drewett, Rhodes University, Grahamstown |
|
|
14:00 - 15:30
|
Digital Audio Workstations (C116) |
(+)
|
|
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) |
(+)
|
|
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) |
(+)
|
|
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) |
(+)
|
|
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 - Stefanou Danae, 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) |
(+)
|
|
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) |
(+)
|
|
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
|
Les musiques enregistrées comme patrimoine (C115) |
(+)
|
|
16:00 - 16:30 |
› Be Kind Rewind: The Importance of Sidewinder Tape Packs for UK Grime Histories - Alex De Lacey, Rijksuniversiteit Groningen |
|
|
16:30 - 17:00 |
› I'm Walkin' Here!: Experiencing New York City's Punk Scene through Bootleg Cassette Tapes - Sean Louis Peters, Cornell University [Ithaca] |
|
|
17:00 - 17:30 |
› 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 |
|
|
16:00 - 17:30
|
L’enregistrement comme technique de traitement du signal (C116) |
(+)
|
|
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
|
Lien avec les sound studies (C204) |
(+)
|
|
16:00 - 17:30 |
› 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 |
|
|
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 |
|
|
18:00 - 21:00
|
Cocktail - en partenariat avec la revue Popular Music |
|
| 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
|
Enregistrement et live, enregistrement et performance (C204) |
(+)
|
|
09:00 - 10:30 |
› PANEL – Electronic Liveness: Space, Technologies, Bodies - Frank Kimenai, Femke Vandenberg, Beate Peter, University of Groningen - Steve Taylor, Manchester Metropolitan University |
|
|
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) |
(+)
|
|
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) |
(+)
|
|
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) |
(+)
|
|
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) |
(+)
|
|
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 - 10:30
|
Dramaturgie et imaginaire dans le rock et le metal (C115) |
(+)
|
|
09:00 - 09:30 |
› “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 |
|
|
09:30 - 10:00 |
› « 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 |
|
|
10:00 - 10:30 |
› 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) |
(+)
|
|
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 (Amphithéâtre) - Dylan Robinson & Martin Daughtry |
|
|
12:30 - 14:00
|
Déjeuner |
|
|
14:00 - 15:30
|
Le studio d’enregistrement et ses différents formats (C115) |
(+)
|
|
14:00 - 14:30 |
› 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] |
|
|
14:30 - 15:00 |
› Wired Ancestrality: The Sonic Journey of Recording the Capoeira Angola Group Estrela do Norte - De Souza Caio, Universidade do Estado do Amapá |
|
|
15:00 - 15:30 |
› 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 |
|
|
14:00 - 15:30
|
Usages des enregistrements et pratiques de danse (C204) |
(+)
|
|
14:00 - 15:30 |
› 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
|
Texte, musique et image (C109) |
(+)
|
|
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) |
(+)
|
|
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 |
› Playlisting the City: Genre, City Pop, and the Aural Politics of Personal Playlists in Contemporary Seoul - Cody Black, Duke university |
|
|
15:00 - 15:30 |
› The reception and performance of recorded music in queer women's clubs - Katherine Griffiths, Royal Holloway [University of London] |
|
|
14:00 - 15:30
|
Enregistrement et diversité culturelle mondiale (C113) |
(+)
|
|
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 |
› Reissuing Pee Froiss's Wala Wala Bok?: Exploring the Legacy of Senegalese Hip Hop - Samuel Lamontagne, UCLA, History |
|
|
14:00 - 15:30
|
Enregistrement et intelligence artificielle (C106) |
(+)
|
|
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) |
(+)
|
|
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 |
|
|
15:30 - 16:00
|
Pause café |
|
|
16:00 - 17:30
|
Pratiques, médiations et intermédiaires de l'enregistrement (C109) |
(+)
|
|
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 |
› The ‘Return of Django': the record as a doorway into early reggae cultures - Benjamin Torrens, Birmingham City University |
|
|
17:00 - 17:30 |
› Beyond Representation: Fabricating Immediacy in Recent Pop Songs - Caleb Herrmann, University of Chicago |
|
|
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) |
(+)
|
|
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) |
(+)
|
|
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) |
(+)
|
|
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 |
› "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 |
|
|
10:00 - 10:30 |
› Methodological Approaches to AI Music Platformization - Avdeeff Melissa, University of Stirling |
|
|
09:00 - 10:30
|
Masculinités (C111) |
(+)
|
|
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) |
(+)
|
|
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) |
(+)
|
|
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 - Thomas Morris, Kingston University [London] |
|
|
10:00 - 10:30 |
› Towards an interface theory of digital audio workstations - Emil Kraugerud, University of Oslo |
|
|
09:00 - 10:00
|
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 |
|
|
10:30 - 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 |
|
|
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
|
Enregistrement et live, enregistrement et performance (C111) |
(+)
|
|
14:00 - 14:30 |
› Does live music matter? - Daniel Hagan, University of West London |
|
|
14:30 - 15:00 |
› Recording the Messy Heart of the Human Voice; Defending the Singer in the Age of AI - Jacqueline Amidy, Macquarie University [Sydney] |
|
|
15:00 - 15:30 |
› Drummer Fingerprints: Microtiming and Tempo Variability in Studio and Live Recordings - David Carter, Loyola Marymount University - Ralf Von Appen, mdw-Vienna |
|
|
14:00 - 15:30
|
L’enregistrement comme technique de traitement du signal (C106) |
(+)
|
|
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 |
› The Presentation and Performance of Nashville Recording Studios - Robbie Fry, Vanderbilt University |
|
|
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) |
(+)
|
|
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) |
(+)
|
|
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 |
› Across the Break: Recording Formats and Black Spatial Practices - Jennifer Messelink, University of Victoria [Canada] |
|
|
15:00 - 15:30 |
› Who Gets to Record? The interplay of performance and recording of Cuban music in Paris 1930s to 1960s - Sue Miller, Leeds Beckett 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
|
Enregistrement et économie de la musique (C109) |
(+)
|
|
16:00 - 16:30 |
› From National Stage to International Market: the role of record labels in Eurovision's history - Vieira Lopes Sofia, Ethnomusicology Institute, FCSH NOVA Lisbon |
|
|
16:30 - 17:00 |
› 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 |
|
|
17:00 - 17:30 |
› Trot Record: A Populist Medium? - Keewoong Lee, Institute for East Asian Studies, SungKongHoe University |
|
|
16:00 - 17:30
|
L'enregistrement comme média (C110) |
(+)
|
|
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 - 17:30
|
Enregistrement et diversité culturelle mondiale (C113) |
(+)
|
|
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 |
|
|
17:00 - 17:30 |
› The Community Recording Studio: Democratization and Diversity in Popular Music Production - Pat OGrady, Australian National University |
|
|
16:00 - 17:30
|
Home studios (C115) |
(+)
|
|
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 and girlhood – from Billie Eilish's home studio to teenage girls on TikTok - Veronika Muchitsch, Södertörn University |
|
|
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 - 17:30
|
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] |
|
|
17:00 - 17:30 |
› 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 |
|
|
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) |
(+)
|
|
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
|
Les enregistrements et leur réception (C106) |
(+)
|
|
08:45 - 09:15 |
› Seeing reggaeton through the lenses of Spanish music criticism - Marina Arias Salvado, Universidad Complutense de Madrid = Complutense University of Madrid [Madrid] |
|
|
09:15 - 09:45 |
› Rethinking Sound Hyperreality in Popular Music Studies - Roquer Jordi, Universitat Autònoma de Barcelona = Autonomous University of Barcelona = Universidad Autónoma de Barcelona |
|
|
09:45 - 10:15 |
› Recorded Music and the Policing of Multivocality: The Case of Fousheé - Chris Tonelli, University of Groningen |
|
|
08:45 - 10:15
|
Enregistrements et politiques (C115) |
(+)
|
|
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) |
(+)
|
|
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
|
Enregistrement et diversité culturelle mondiale (C113) |
(+)
|
|
08:45 - 09:15 |
› (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 |
|
|
09:15 - 09:45 |
› Musical Diaspora and Cultural Identity: Examining the Journey of Más allá de la Bossa Nova - Ana Barbosa, University of Barcelona |
|
|
09:45 - 10:15 |
› 1968 "Non illuderti mai" translation and permutation of a pop song in the Italian, French and English Environment - Santoro Lorenzo, S. Giacomantonio |
|
|
08:45 - 10:15
|
L’enregistrement comme texte pour l’analyse (C116) |
(+)
|
|
08:45 - 09:15 |
› 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 |
|
|
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 |
› Aspects of Tactus in Early Country Blues Recordings: Technical and ethical considerations - William Echard, Carleton University |
|
|
08:45 - 10:15
|
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 |
› 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 |
|
|
09:45 - 10:15 |
› 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) |
(+)
|
|
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) |
(+)
|
|
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 |
› It Sounded Like Applause: Music, Sound and Imagined Lives in Joni Mitchell's Inside Songs - Richard Elliott, Newcastle University [Newcastle] |
|
|
12:15 - 12:45 |
› "Lesson in Survival: Joni Mitchell Goes Her Own Way, Again" - Norma Coates, University of Western Ontario |
|
|
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 |
› TikTok and Hyperlistening: The Transmedial Modular Materiality of Pop in the Age of Social Media - Anders Reuter, Lund University |
|
|
11:45 - 13:15
|
Histoire de l'industrie phonographique (C109) |
(+)
|
|
11:45 - 12:15 |
› The jazz record on BBC radio 1922 to 1972 - Tim Wall, Birmingham City University |
|
|
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 |
|
|
12:45 - 13:15 |
› 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 |
|
|
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, Gustave Eiffel University |
|
|
11:45 - 13:15
|
L’enregistrement comme technique de traitement du signal (C116) |
(+)
|
|
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] |
|
|
12:45 - 13:15 |
› 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 |
|
|
11:45 - 13:15
|
Musique live en ligne (C115) |
(+)
|
|
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 - 13:15
|
Enregistrement et diversité culturelle mondiale (C113) |
(+)
|
|
11:45 - 12:15 |
› Embodying Memory Through Music: The Finnish Tatars - Ayhan Erol, Dokuz Eylül University |
|
|
12:15 - 12:45 |
› 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 |
|
|
12:45 - 13:15 |
› "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) |
(+)
|
|
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 |
› 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 |
|
|
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) |
(+)
|
|
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) |
(+)
|
|
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) |
(+)
|
|
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 - 17:30
|
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] |
|
|
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) |
(+)
|
|
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) |
(+)
|
|
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) |
(+)
|
|
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 |
› 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 |
|
|
10:00 - 10:30 |
› 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 |
|
|
09:00 - 10:30
|
Politics and counterculture (C110) |
(+)
|
|
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) |
(+)
|
|
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 |
› 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 |
|
|
09:00 - 10:30
|
Les enregistrements et leur réception (C115) |
(+)
|
|
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) |
|
|
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 |
|
|
09:00 - 10:30
|
Enregistrement et espaces (C113) |
(+)
|
|
09:00 - 09:30 |
› Favela Movement: Record Production Networks in Precarious Areas of Fortaleza, Brazil - Pedro MARRA, Universidade Federal do Espirito Santo |
|
|
09:30 - 10:00 |
› “Staying all true to the borough”? Hip-Hop heritage, tourism and urban change in New York - Séverin Guillard, Habiter le Monde - UR 4287 |
|
|
10:00 - 10:30 |
› The Conflicting and Complementing Logics of Popular Music Making in Iceland - Jeremy Peters, Wayne State University [Detroit] |
|
|
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
|
L'enregistrement comme média (C204) |
(+)
|
|
11:00 - 12:30 |
› 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 |
|
|
11:00 - 12:30
|
L’enregistrement comme texte pour l’analyse (C110) |
(+)
|
|
11:00 - 11:30 |
› “I transcend genres, but I also helped create one”: an analysis of Charli XCX's metageneric universe - Ugo Fellone, Valencian International University |
|
|
11:30 - 12:00 |
› The Sparkling Shine of #cleancore: Exploring Music Genre on TikTok - Anders Bach Pedersen, University of Copenhagen = Københavns Universitet |
|
|
12:00 - 12:30 |
› Songs in the Key of Life: Stylistic Adaptation and the 1970s Music Industry - Justin Williams, University of Bristol |
|
|
11:00 - 12:30
|
Festivals (C115) |
(+)
|
|
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 |
› 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 |
|
|
11:00 - 12:00
|
Âge et vieillissement (C116) |
(+)
|
|
11:00 - 11:30 |
› ‘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] |
|
|
11:30 - 12:00 |
› “To age is a sin”: Madonna's audible disruptions of chrononormativity - Hannah Schiller, Department of Music, Yale University |
|
|
11:00 - 12:30
|
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 |
|
|
12:00 - 12:30 |
› On the Record: Talking about Vinyl and Its Role in Wellington's Urban Imaginary - Geoff Stahl, Victoria University of Wellington |
|
|
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) |
(+)
|
|
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) |
(+)
|
|
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 |
|
|
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 [Pittsburgh] |
|
|
14:00 - 15:30
|
L’enregistrement sonore comme technique d’enquête ou d'écriture (C109) |
(+)
|
|
14:00 - 14:30 |
› Cultural record: music album as a teaching method in social sciences - Smółka Maciej, Uniwersytet Jagielloński w Krakowie = Jagiellonian University |
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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 |
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15:00 - 15:30 |
› Recording practices as mediation for teaching music production: adverse learning environments and students' agency - Bonetti Lucas, Federal University of Bahia |
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14:00 - 15:30
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De l’enregistrement aux data et à la plateformisation (C110) |
(+)
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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 |
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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 |
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15:00 - 15:30 |
› The Work of the Album in the Age of Streaming Platforms - Jack Melton, University of Melbourne |
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14:00 - 15:30
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Enregistrer des instruments (C111) |
(+)
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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] |
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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 |
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15:00 - 15:30 |
› 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 |
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14:00 - 15:30
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Musiques de film et cinéma musical (C115) |
(+)
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14:00 - 14:30 |
› 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 |
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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 |
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15:00 - 15:30 |
› Hawai‘i in Stereo: Cinerama, Stereophonic Sound, and Hawaiian Statehood - Manan Desai, University of Michigan |
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14:00 - 15:30
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Environnement et écologie (C116) |
(+)
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14:00 - 14:30 |
› Recording Environmental Shifts in Popular Music: The Long View - Kathryn Cox, Liverpool Hope University |
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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 |
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15:00 - 15:30 |
› Low Carbonism Music - Kyle Devine, University of Oslo, University of Winnipeg |
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15:30 - 16:00
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Pause café |
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16:00 - 17:30
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Politics and counterculture (C106) |
(+)
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16:00 - 16:30 |
› Monterey, Woodstock, Maui: Jimi Hendrix video recordings as countercultural communal representation - Victor Arul, Harvard University |
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16:30 - 17:00 |
› Making Politics, Recording Records: an Atlas of Antagonist Discography - Jacopo Tomatis, Università degli studi di Torino = University of Turin |
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17:00 - 17:30 |
› Sounding Divides: Recorded Music and Affective Polarization in Protest Movements - Melanie Schiller, Radboud university [Nijmegen] |
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16:00 - 17:30
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Reprises (C109) |
(+)
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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 |
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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 |
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17:00 - 17:30 |
› “Make the World Great Again”: Laibach and the re-recording of popular music classics as totalitarian anthems - Kimi Kärki, Uniarts Helsinki |
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16:00 - 17:30
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Usages des enregistrements et pratiques de danse (C110) |
(+)
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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] |
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16:30 - 17:00 |
› Plena and the influence of recordings in traditional urban Puerto Rican music - Javier Silvestrini, University of Music and Performing Arts Vienna |
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17:00 - 17:30 |
› 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 |
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16:00 - 17:30
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Enregistrement et diversité culturelle mondiale (C113) |
(+)
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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] |
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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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17:00 - 17:30 |
› A Historical Analysis on the Evolution and Cultural Significance of Jazz Recordings in 20th-Century Shanghai - Wenyu Tao, Shanghai Conservatory of Music |
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16:00 - 17:30
|
De l’enregistrement aux data et à la plateformisation (C115) |
(+)
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16:00 - 16:30 |
› Towards AI-mediated Interactive Listening on the Streaming Platform as a New Hybrid Media - Hiroko Nishida, Faculty of Design, Kyushu University |
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16:30 - 17:00 |
› Reshaping Music Recording in the Age of Digital Streaming - MIaoju Jian, National Chung-Cheng University |
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17:00 - 17:30 |
› From Market Disruptions to Real Transformation. The Promise of Democratising Recording Industries in the Age of Platform Capitalism. - Juho Kaitajärvi-Tiekso, Tampere University |
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16:00 - 17:30
|
Varia/Hors thématique de la conférence (C116) |
(+)
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16:00 - 16:30 |
› Music, identity and community in depopulated Spain: a map of festivals - Héctor Fouce, Universidad Complutense de Madrid = Complutense University of Madrid [Madrid] |
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16:30 - 17:00 |
› Taking Astrology Seriously: Ethnomusicological Approaches to Music, Healing, and the Alignments of the Cosmos - Jose Vicente Neglia, University of Hong Kong |
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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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16:00 - 17:30
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Pratiques, médiations et intermédiaires de l'enregistrement (C204) |
(+)
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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 |
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