CSTM Call for papers

Legacies and Prospects: Pasts and Futures in Music

Canadian Society for Traditional Music Annual Conference
Université du Québec à Montréal (UQAM)
May 24-26, 2019

Submission Deadline:December 1, 2018

The year 2019 – the threshold of the third decade of the twenty-first century – is a particularly opportune time to consider both the past and the future of traditional, folk, and vernacular musics around the world. This year marks the 50^thanniversary of the Woodstock festival, a watershed event in the history of folk and popular musics in North America, and the 40^thanniversary of the 1979 Revolution in Iran, which effected a ban on popular music in that country. It also marks two decades since the introduction of the Napster peer-to-peer file sharing platform, which disrupted long-established models for the sharing and distribution of music, irrevocably changing the global music industry across all musical genres. What shifts have we seen in the artistry, politics, technology, business, and mediation of music and culture? What directions might traditional, folk, and vernacular musics and their study take over the next decade? As we look to the new “Twenties,” the time is ripe for anticipation and reflection.

For our 2019 meeting, held in conjunction with IASPM-Canada, the CSTM program committee invites proposals for papers, roundtables, panels, workshops, film screenings, and performance-based presentations on the topic of music’s pasts, presents, and possible futures. In particular, proposals on the following subthemes are encouraged:

What is the future of folk and traditional musics around the world?

Emerging artistic strategies, generational shifts, and technologies
Changing venues, channels of distribution, listening styles and practices
Developing/declining festivals, tourism, economic development, and sustainability
Defining vernacular music in a digital age

How will forces of migration and immigration shape the musical landscapes in which we work and make music?

Emerging sounds, relationships, and musical forms
Memory, imagination, creative processes
Expressive cultures of youth and aging populations

How will we approach the study of music and sound?

Epistemology and ways of knowing
Emerging methodologies, historical ethnomusicology, digital humanities
Theoretical directions

How will new pedagogical approaches affect the development of future musicians and scholars?

Innovative and disruptive technologies, alternative learning/delivery models
Interdisciplinary training (entrepreneurship, social enterprise)
Inclusive and decolonized methodologies

Submissions:

We welcome proposals on these and any other themes of interest to the membership of CSTM. We also welcome special presentation proposals that address student interests and concerns or professional development. Please submit proposals using the Google forms below. Individual presenters should provide an abstract of no more than 250 words, and include author information (name, affiliation, email address, and 50-word bio). Panel proposals should include a 150-word overview of the panel in addition to the individual paper proposals of 250 words each and specify whether they require a 90-minute slot (for three papers) or a 120-minute slot (for four papers). Please indicate any special audio-visual or other needs for your presentation.

Individual Paper: https://goo.gl/forms/0UZ1A5aXeER12KJA2

Panel: https://goo.gl/forms/YAMZ0ZdkVE3BP2If2

Roundtable/Workshop/Other: https://goo.gl/forms/awQQUo32XJ0WSweE3

Inquiries can be directed to cstmsctm2019@gmail.com.

2019 Program Committee:
Chair: Janice Esther Tulk (Cape Breton University)
Committee: Ameera Nimjee (University of Chicago); Marion MacLeod (Independent Scholar); Louise Wrazen (York University)

IASPM Call for papers

Legacies and Prospects: The Pasts and Futures of Popular Music

IASPM-Canada Annual Conference

Université du Québec à Montréal (UQAM)

May 24-26, 2019

Submission Deadline: December 1, 2018

For those interested in the study of popular music, the year 2019 provides a juncture to consider both the future and the past. We are on the threshold of the third decade of the twenty-first century, and can expect new and ongoing shifts in the technology, artistry, business, politics, and mediation of music and popular culture. Historically, this year marks several milestones:

20 years since peer-to-peer (P2P) file sharing disrupted long-established business models for the distribution and sale of music commodities
40 years since the first commercially-released hip hop recording (Sugarhill Gang, “Rapper’s Delight”), a revolutionary new style that continues to define popular music’s present
50 years since the Woodstock and Altamont festivals, seen by many as watershed events in the post-war history of popular music.

Thus, the time is ripe for anticipation and reflection. For our 2019 conference, held in conjunction with the Canadian Society for Traditional Music (CSTM), the IASPM program committee invites proposals for papers, roundtables and panels on the topics of popular music’s pasts, presents, and possible futures. Areas of inquiry may include, but are not limited to:

Popular Music & “Becoming”

As a medium, music is time-based and is always “emergent,” always “becoming.” What are the emerging sounds, relationships, technologies, generational shifts, and artistic strategies that are emergent, and give us a sense of what popular music might become in the near future? How could “becoming” describe the creative process, and help us theorize the emerging of new songs, sounds, scenes, recordings, genres, etc.? What role does the new and unexpected play in the histories and processes that unfold in popular music?

Histories, Narratives, Revisions

We invite papers that take stock of any turning points in popular music’s history, analyze and challenge any narratives about popular music which require reassessment or deconstruction, and/ or reconsider historical moments from new theoretical standpoints.

Popular Music Studies, Collective Agency & Social Movements

2019 marks 40 years since Frith’s The Sociology of Rock, 25 years since Brett, Wood, and Thomas’s Queering the Pitch, 25 years since Rose’s Black Noise, and just over 20 years since Whiteley’s Sexing the Groove, to name just a few landmark works that theorized popular music as social practice. We invite papers that take stock of popular music studies’ contribution to the study of social identities and movements, including race, ethnicity, class, gender, sexuality, and ability. We also invite papers that look to the present and future, including popular music’s role in movements of Indigenous resistance and resurgence, Black Lives Matter, or #metoo.

Popular Music & Pedagogy

In the four decades since popular music emerged as an area of study in higher education, how has it been taught? What pedagogies have emerged? How successful have teachers and institutions been in integrating popular music into curricula? Where can or should the teaching of popular music go in the future? What place might popular music studies have in decolonizing curricula in higher education?

Popular Music, Age & Aging

Popular music’s association with youth once gave it a strong sense of currency and immediacy. But recent studies, like Bennett’s Music, Style and Aging: Growing Old Disgracefully (2013), call into question the idea that popular music’s reception, meaning, and economic impact centres on youth alone. Are relationships between age groups and popular music genres, media, and communities changing in the new millennium? Do continuities exist across popular music’s history regarding music and different age groups? How do genres themselves age?

Technology & Popular Music’s Future

What kinds of effects are emerging technologies – such as artificial intelligence, holography, or virtual reality – having on popular music? How are new entertainment and leisure technologies – like social media, video streaming, mobile devices, or video games – affecting popular music’s presence in people’s lives? Are these producing new synergies, or are these new leisure and entertainment technologies causing popular music to lose some of the prominence that it once enjoyed in popular culture?

Submission Process:

We welcome proposals on these and, of course, any other themes. We also welcome special presentation proposals that address student interests and concerns, professional development, and teaching popular music. Please submit proposals by email, as MS Word documents [labeled with last name_first name.docx] to iaspmCanada2019@gmail.com. Individual presenters should provide an abstract of no more than 250 words, and include author information (name, affiliation, email address, and 50-word bio). Panel proposals should include a 150-word overview of the panel in addition to the individual paper proposals, of 250 words each. Panel proposals should specify if they will require a 90-minute slot (for three papers) or a 120-minute slot (for four papers).

Please indicate in your proposal any special audio-visual or other needs for your presentation. We also welcome alternative presentation formats such as workshops and film screenings. You will receive an email confirming receipt of your submission.

2019 Program Committee:

Chair: Chris McDonald (Cape Breton University)
Committee: Norma Coates (Western University), Brittany Greening (University of Alberta), Serge Lacasse (Université Laval), Annie Randall (Bucknell University), Alyssa Woods (University of Guelph)
Local Arrangements: Martin Lussier (UQAM), Line Grenier (Université de Montréal)

<a href="#anchor_CSTM">CSTM Call for papers</a><a href="#anchor_IASPM">IASPM Call for papers</a><hr><h2 id="anchor_CSTM">CSTM Call for papers </h2><h1>Legacies and Prospects: Pasts and Futures in Music</h1>Canadian Society for Traditional Music Annual Conference Université du Québec à Montréal (UQAM) May 24-26, 2019Submission Deadline:December 1, 2018The
 year 2019 – the threshold of the third decade of the twenty-first 
century – is a particularly opportune time to consider both the past and
 the future of traditional, folk, and vernacular musics around the 
world. This year marks the 50thanniversary of the Woodstock festival, a watershed event in the history of folk and popular musics in North America, and the 40thanniversary
 of the 1979 Revolution in Iran, which effected a ban on popular music 
in that country. It also marks two decades since the introduction of the
 Napster peer-to-peer file sharing platform, which disrupted 
long-established models for the sharing and distribution of music, 
irrevocably changing the global music industry across all musical 
genres. What shifts have we seen in the artistry, politics, technology, 
business, and mediation of music and culture? What directions might 
traditional, folk, and vernacular musics and their study take over the 
next decade? As we look to the new “Twenties,” the time is ripe for 
anticipation and reflection.For our 2019 meeting, held in 
conjunction with IASPM-Canada, the CSTM program committee invites 
proposals for papers, roundtables, panels, workshops, film screenings, 
and performance-based presentations on the topic of music’s pasts, 
presents, and possible futures. In particular, proposals on the 
following subthemes are encouraged:What is the future of folk and traditional musics around the world?<ul><li>Emerging artistic strategies, generational shifts, and technologies</li><li>Changing venues, channels of distribution, listening styles and practices</li><li>Developing/declining festivals, tourism, economic development, and sustainability</li><li>Defining vernacular music in a digital age</li></ul>How will forces of migration and immigration shape the musical landscapes in which we work and make music?<ul><li>Emerging sounds, relationships, and musical forms</li><li>Memory, imagination, creative processes</li><li>Expressive cultures of youth and aging populations</li></ul>How will we approach the study of music and sound?<ul><li>Epistemology and ways of knowing</li><li>Emerging methodologies, historical ethnomusicology, digital humanities</li><li>Theoretical directions</li></ul>How will new pedagogical approaches affect the development of future musicians and scholars?<ul><li>Innovative and disruptive technologies, alternative learning/delivery models</li><li>Interdisciplinary training (entrepreneurship, social enterprise)</li><li>Inclusive and decolonized methodologies</li></ul>Submissions:We
 welcome proposals on these and any other themes of interest to the 
membership of CSTM. We also welcome special presentation proposals that 
address student interests and concerns or professional development. 
Please submit proposals using the Google forms below. Individual 
presenters should provide an abstract of no more than 250 words, and 
include author information (name, affiliation, email address, and 
50-word bio). Panel proposals should include a 150-word overview of the 
panel in addition to the individual paper proposals of 250 words each 
and specify whether they require a 90-minute slot (for three papers) or a
 120-minute slot (for four papers). Please indicate any special 
audio-visual or other needs for your presentation.Individual Paper: <a href="https://goo.gl/forms/0UZ1A5aXeER12KJA2">https://goo.gl/forms/0UZ1A5aXeER12KJA2</a>Panel: <a href="https://goo.gl/forms/YAMZ0ZdkVE3BP2If2">https://goo.gl/forms/YAMZ0ZdkVE3BP2If2</a>Roundtable/Workshop/Other: <a href="https://goo.gl/forms/awQQUo32XJ0WSweE3">https://goo.gl/forms/awQQUo32XJ0WSweE3</a>Inquiries can be directed to <a href="mailto:cstmsctm2019@gmail.com">cstmsctm2019@gmail.com</a>.2019 Program Committee: Chair: Janice Esther Tulk (Cape Breton University) Committee: Ameera Nimjee (University of Chicago); Marion MacLeod (Independent Scholar); Louise Wrazen (York University)<h2 id="anchor_IASPM">IASPM Call for papers </h2><h1>Legacies and Prospects: The Pasts and Futures of Popular Music</h1>IASPM-Canada Annual ConferenceUniversité du Québec à Montréal (UQAM)May 24-26, 2019Submission Deadline: December 1, 2018For those interested in the study of popular music, the year 2019 provides a juncture to consider both the future and the past. We are on the threshold of the third decade of the twenty-first century, and can expect new and ongoing shifts in the technology, artistry, business, politics, and mediation of music and popular culture. Historically, this year marks several milestones:<ul><li>20 years since peer-to-peer (P2P) file sharing disrupted long-established business models for the distribution and sale of music commodities</li><li>40 years since the first commercially-released hip hop recording (Sugarhill Gang, “Rapper’s Delight”), a revolutionary new style that continues to define popular music’s present</li><li>50 years since the Woodstock and Altamont festivals, seen by many as watershed events in the post-war history of popular music.</li></ul>Thus, the time is ripe for anticipation and reflection. For our 2019 conference, held in conjunction with the Canadian Society for Traditional Music (CSTM), the IASPM program committee invites proposals for papers, roundtables and panels on the topics of popular music’s pasts, presents, and possible futures. Areas of inquiry may include, but are not limited to:Popular Music & “Becoming”As a medium, music is time-based and is always “emergent,” always “becoming.” What are the emerging sounds, relationships, technologies, generational shifts, and artistic strategies that are emergent, and give us a sense of what popular music might become in the near future? How could “becoming” describe the creative process, and help us theorize the emerging of new songs, sounds, scenes, recordings, genres, etc.? What role does the new and unexpected play in the histories and processes that unfold in popular music?Histories, Narratives, RevisionsWe invite papers that take stock of any turning points in popular music’s history, analyze and challenge any narratives about popular music which require reassessment or deconstruction, and/ or reconsider historical moments from new theoretical standpoints.Popular Music Studies, Collective Agency & Social Movements2019 marks 40 years since Frith’s The Sociology of Rock, 25 years since Brett, Wood, and Thomas’s Queering the Pitch, 25 years since Rose’s Black Noise, and just over 20 years since Whiteley’s Sexing the Groove, to name just a few landmark works that theorized popular music as social practice. We invite papers that take stock of popular music studies’ contribution to the study of social identities and movements, including race, ethnicity, class, gender, sexuality, and ability. We also invite papers that look to the present and future, including popular music’s role in movements of Indigenous resistance and resurgence, Black Lives Matter, or #metoo.Popular Music & PedagogyIn the four decades since popular music emerged as an area of study in higher education, how has it been taught? What pedagogies have emerged? How successful have teachers and institutions been in integrating popular music into curricula? Where can or should the teaching of popular music go in the future? What place might popular music studies have in decolonizing curricula in higher education?Popular Music, Age & AgingPopular music’s association with youth once gave it a strong sense of currency and immediacy. But recent studies, like Bennett’s Music, Style and Aging: Growing Old Disgracefully (2013), call into question the idea that popular music’s reception, meaning, and economic impact centres on youth alone. Are relationships between age groups and popular music genres, media, and communities changing in the new millennium? Do continuities exist across popular music’s history regarding music and different age groups? How do genres themselves age?Technology & Popular Music’s FutureWhat kinds of effects are emerging technologies – such as artificial intelligence, holography, or virtual reality – having on popular music? How are new entertainment and leisure technologies – like social media, video streaming, mobile devices, or video games – affecting popular music’s presence in people’s lives? Are these producing new synergies, or are these new leisure and entertainment technologies causing popular music to lose some of the prominence that it once enjoyed in popular culture?Submission Process:We welcome proposals on these and, of course, any other themes. We also welcome special presentation proposals that address student interests and concerns, professional development, and teaching popular music. Please submit proposals by email, as MS Word documents [labeled with last name_first name.docx] to iaspmCanada2019@gmail.com. Individual presenters should provide an abstract of no more than 250 words, and include author information (name, affiliation, email address, and 50-word bio). Panel proposals should include a 150-word overview of the panel in addition to the individual paper proposals, of 250 words each. Panel proposals should specify if they will require a 90-minute slot (for three papers) or a 120-minute slot (for four papers).Please indicate in your proposal any special audio-visual or other needs for your presentation. We also welcome alternative presentation formats such as workshops and film screenings. You will receive an email confirming receipt of your submission.2019 Program Committee:<ul><li>Chair: Chris McDonald (Cape Breton University)</li><li>Committee: Norma Coates (Western University), Brittany Greening (University of Alberta), Serge Lacasse (Université Laval), Annie Randall (Bucknell University), Alyssa Woods (University of Guelph)</li><li>Local Arrangements: Martin Lussier (UQAM), Line Grenier (Université de Montréal)</li></ul>

<a href="#anchor_CSTMfr">SCTM - Appel à communications</a><a href="#anchor_IASPMfr">IASPM - Appel à communications</a><hr><h2 id="anchor_CSTMfr"> SCTM - Appel à communications </h2> <h1>Héritages et perspectives d’avenir : les passés et futurs en musique</h1>
Congrès annuel de la Société canadienne pour les traditions musicales 
Université du Québec à Montréal (UQAM) 
24-26 mai, 2019
Date limite pour les soumissions : 1er décembre 2018
L’année 2019 – le seuil de la troisième décennie du vingt-et-unième 
siècle – est un temps particulièrement opportun pour considérer à la 
fois le passé et l’avenir des musiques traditionnelle, folklorique et 
vernaculaire autour du monde. Cette année marquera le 50eanniversaire
 du festival Woodstock, un évènement saillant dans l’histoire des 
musiques folk et populaire en Amérique du Nord, et le 40eanniversaire
 de la Révolution de 1979 en Iran, qui a entrainé un interdit de la 
musique populaire dans ce pays. L’année 2019 marque aussi deux décennies
 depuis l’introduction de la plateforme Napster de partage de fichiers 
en pair à pair, qui a ébranlé les modèles bien établis de partage et de 
distribution de la musique, altérant de façon irrévocable l’industrie 
mondiale de la musique et ce pour tous les genres musicaux. Quels 
changements avons-nous observés dans les domaines artistique, politique,
 technologique, commercial et médiatique de la musique et de la culture?
 Quelles directions prendra l’étude des musiques traditionnelle, folk et
 vernaculaire au cours de la prochaine décennie? En ce seuil des 
nouvelles années ’20, le temps est propice pour anticiper et réfléchir.
Pour notre rencontre de 2019, tenue en conjonction avec IASPM-Canada,
 le Comité de programme du SCTM invite les propositions de 
communications, tables rondes, panels, ateliers, projections de films, 
et présentations artistiques abordant le sujet des passés, présents et 
futurs possibles de la musique. En particulier, les participants sont 
encouragés à proposer des communications qui explorent les thèmes 
suivants :
Quel est l’avenir des musiques folk et traditionnelle dans le monde?
<ul><li>Stratégies des artistes émergents, mouvements générationnels, et technologies</li><li>Changements des lieux de performance, canaux de distribution, styles et modes d’écoute</li><li>Festivals en développement/en déclin, tourisme, développement économique et durabilité</li><li>Définitions de la musique vernaculaire à l’ère numérique</li></ul>
Comment les migrations et l’immigration vont-elles façonner les 
paysages musicaux dans lesquels nous travaillons et produisons de la 
musique?
L’émergence de nouveaux sons, de nouvelles relations et formes musicales
<ul><li>La mémoire, l’imagination et les processus créatifs</li><li>Cultures expressives des jeunes et des populations vieillissantes</li></ul>
Comment allons-nous aborder l’étude de la musique et du son?
<ul><li>Épistémologie et formes de savoir</li><li>Méthodologies émergentes, ethnomusicologie historique, sciences humaines numériques</li><li>Directions théoriques</li></ul>
Comment les nouvelles approches pédagogiques vont-elles influencer le développement des futurs musiciens et chercheurs?
<ul><li>Technologies innovatrices et perturbatrices, modèles d’apprentissage/de formation alternatifs</li><li>Formation interdisciplinaire (entrepreneuriat, entreprises à vocation sociale)</li><li>Méthodologies d’inclusivité et de décolonisation</li></ul>
Soumissions :
Nous accueillons des propositions sur ces thèmes et sur d’autres 
thèmes intéressant les membres de la SCTM. Nous encourageons aussi des 
présentations spéciales qui répondent aux intérêts et aux préoccupations
 des étudiants ou qui touchent le développement professionnel. Veuillez 
soumettre vos propositions en utilisant les formulaires Google 
ci-dessous. Les conférenciers individuels doivent fournir un résumé d’au
 plus 250 mots, et inclure des renseignements sur l’auteur (nom, 
affiliation institutionnelle, adresse courriel, et une biographie de 50 
mots). Les propositions de panels doivent inclure un aperçu de 150 mots 
du panel en plus des informations individuels de 250 mots et spécifier 
si un créneau de 90 minutes ou de 120 minutes est requis. Veuillez 
indiquer si vous nécessitez des équipements audiovisuels ou si vous avez
 d’autres besoins spéciaux pour votre présentation.
Présentation individuelle: <a href="https://goo.gl/forms/0UZ1A5aXeER12KJA2">https://goo.gl/forms/0UZ1A5aXeER12KJA2</a>
Panel:<a href="https://goo.gl/forms/YAMZ0ZdkVE3BP2If2">https://goo.gl/forms/YAMZ0ZdkVE3BP2If2</a>
Table ronde/Atelier/Autre:<a href="https://goo.gl/forms/awQQUo32XJ0WSweE3">https://goo.gl/forms/awQQUo32XJ0WSweE3</a>
Veuillez envoyer les demandes de renseignements à: <a href="mailto:cstmsctm2019@gmail.com">cstmsctm2019@gmail.com</a>

2019 Comité de programme:
Présidente: Janice Esther Tulk (Cape Breton University)
Comité: Ameera Nimjee (University of Chicago); Marion MacLeod (chercheuse indépendante); Louise Wrazen (York University)<hr><section><h2 id="anchor_IASPMfr">IASPM - Appel à communications </h2> </h1><h1>Héritages et avenir : Le passé et le futur de la musique populaire</h1>Conférence annuelle de l’IASPM-CanadaUniversité du Québec à Montréal (UQAM)24 au 26 mai 2019Date limite pour les soumissions : 1er décembre 2018L’année 2019 offre à tous ceux qui s’intéressent à l’étude de la musique populaire une conjoncture permettant de considérer le futur et le passé. Nous sommes à l’aube de la troisième décennie du 21e siècle et nous pouvons nous attendre à des changements continus au niveau de la technologie, l’art, la politique, le marché ainsi que la médiation de la musique et la culture populaire. Cette année marque plusieurs étapes historiques:<ul><li>20 ans que le partage de fichiers peer-to-peer (P2P) est venu perturber des modèles d’affaires bien établis qui distribuaient et vendaient des produits musicaux;</li><li>40 ans depuis la première sortie commerciale d’un enregistrement de hip hop (Sugarhill Gang, «Rapper’s Delight»), un nouveau style révolutionnaire qui définit constamment la musique populaire de nos jours;</li><li>50 ans depuis les festivals de Woodstock et Altamont, qui sont vus par plusieurs comme des évènements marquants de l’histoire de la musique populaire de l’après-guerre.</li></ul>C’est donc un bon moment de réflexion et d’anticipation. Dans le cadre de notre conférence de 2019, qui se déroulera en conjonction avec la société canadienne pour les traditions musicales (SCTM), le comité de programme de l’IASPM accepte les articles, les panels ainsi que des tables rondes portant sur le passé, présent et futur possible de la musique populaire. Les soumissions peuvent porter sur, mais ne sont pas limités à:Musique populaire et «Devenir»La musique est un art temporel qui est toujours émergeant et en devenir. Quels sont les sons, les relations, les technologies, les changements générationnels ainsi que les stratégies artistiques émergentes qui peuvent nous donner une idée de ce que pourrait être la musique dans un futur proche? Comment est-ce que « devenir » peut décrire le processus artistique et nous permettre de mettre au point des théories sur ce que seront les nouvelles chansons, sons, scènes, enregistrements, genres, etc.? Quel rôle jouent le nouveau et l’inattendu dans les histoires et les processus se déroulant dans la musique populaire?Histoire, récits, révisionsNous acceptons les soumissions qui se penchent sur les moment décisifs dans l’histoire de la musique populaire en mettant en question et analysant les récits de la musique populaire qui demandent d’être revisités ou déconstruits, et/ou de reconsidérer des moments historiques à l’aide de nouveaux points de vue théoriques.Études de la musique populaire, agence collective et mouvements sociauxL’année 2019 marquera les 40 ans de la sortie de The Sociology of Rock, de Firth, 25 ans de Queering the Pitch de Brett, Wood et Thomas, 25 ans depuis la sortie de Black Noise par Rose et un peu plus de 20 ans depuis la publication de Sexing the Groovepar Whiteley, pour nommer quelques ouvrages importants qui ont théorisés la musique populaire en tant que pratique sociale. Nous acceptons les soumissions qui portent sur la contribution de l’étude de la musique populaire sur les études des mouvements et identités sociaux tels que la race, l’ethnicité, la classe, le genre, la sexualité les habiletés. Nous acceptons aussi les soumissions qui portent sur le présent et le futur, incluant le rôle de la musique populaire sur les mouvements de résistance et résurgence autochtone, Black Lives Matter ou #metoo,Musique populaire et pédagogiePendant les 40 années depuis l’émergence de la musique populaire comme champ d’études supérieures, comment celle-ci a-t-elle été enseignée? Quelles pédagogies en sont ressorties? À quel point les professeurs et universités ont-ils réussi à inclure la musique populaire dans leurs programmes universitaires? Quel est le futur possible de l’enseignement de la musique populaire? Quelle place peut avoir la musique populaire dans la décolonisation des programmes universitaires?Musique populaire, âge et vieillissementL’association qu’a la musique populaire avec la jeunesse a fait en sorte que celle-ci ait un sens fort d’actualité et d’urgence. Cependant, des recherches récentes, telles que Music, Style and Aging: Growing Old Disgracefully de Bennett (2013) remettent en question l’idée que la réception, la signification et l’impact économique de la musique populaire sont seulement centrés sur les jeunes. Y a-t-il un changement dans la relation entre les groupes d’âge et les genres, médias et communautés de la musique populaire au 21e siècle? Existe-t-il des continuités dans l’histoire de la musique populaire en ce qui a trait la musique et les différents groupes d’âge? Comment les genres vieillissent-ils?Technologie et future de la musique populaire Quels sont les effets des technologies émergentes- telles que l’intelligence artificielle, l’holographie ainsi que la réalité virtuelle- sur la musique populaire? Comment les nouvelles technologies de divertissement et loisirs- comme les réseaux sociaux, les vidéos en continu, les appareils mobiles ou les jeux vidéo- affectent-elles la présence de musique populaire dans la vie des gens? Ces technologies produisent-elles de nouvelles synergies, ou ont elles entraîné une baisse de proéminence que la musique populaire avait dans la culture populaire?Processus de soumission:Nous acceptons les soumissions portant sur les thèmes ci-dessus, ainsi que sur d’autres thèmes. Nous acceptons aussi les soumissions spéciales qui portent sur les intérêts et inquiétudes des étudiants, le développement professionnel ainsi que l’enseignement de la musique populaire. Veuillez s’il vous plaît envoyer vos soumissions par courriel sous forme de document Word MS (titré : nom de famille prénom.docx) à iaspmCanada2019@gmail.com. Les soumissions de présentateurs individuels devraient aussi inclure un résumé d’un maximum de 250 mots ainsi que des informations sur l’auteur (nom, affiliation, adresse courriel et une biographie d’environ 50 mots). Les soumissions de panel devront indiquer si elles ont besoin de 90 minutes (pour 3 articles) ou 120 (pour 4 articles).Veuillez aussi indiquer si vous avez des besoins spécifiques (tels qu’audiovisuels) pour votre présentation. Nous acceptons aussi des formes de présentations alternatives telles que les séminaires et des projections cinématographiques.Vous recevrez un accusé de réception de votre soumission par courriel.Comité de programme 2019<ul><li>Président: Chris McDonald (Cape Breton University)</li><li>Comité: Norma Coates (Western University), Brittany Greening (University of Alberta), Serge Lacasse (Université Laval), Annie Randall (Bucknell University), Alyssa Woods (University of Guelph)</li><li>Arrangements locaux: Martin Lussier (UQAM), Line Grenier (Université de Montréal)</li></ul></section>