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X-WR-CALDESC:Veranstaltungen für Österreichische Gesellschaft für Musikwissenschaft
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DTSTART;VALUE=DATE:20241107
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SUMMARY:6. IASPM D-A-CH Tagung\, Zürich
DESCRIPTION:Metadata | Meta information. Popular Music and its Metamorphoses.\n6th IASPM D-A-CH Conference\nUniversity of Zurich\, 07-09 November 2024\nhttps://www.iaspm-dach.net\nIn recent years\, the term metadata has evolved from a technical IT term to a common- place and buzzword referring to fundamental cultural semantics and technological dy- namics of the present – also and particularly regarding popular music. In the context of digital systems\, machine learning (AI)\, ubiquitous internet availability in the global North\, streaming possibilities\, etc.\, “data about data” and the labelling of other data are of considerable importance for the infrastructures of popular music. At the same time\, they also affect the production side because genre boundaries and other conventions are shifting – and act as a heuristic starting point for attempts to intellectually explore and criticise respective processes. Streaming services and their music recommenda- tion algorithms are a prime example for the current significance of metadata. Musicol- ogists and scholars of cultural studies have recently increasingly studied such digital systems and their effects. Both ethnographically and using quantitative methods\, sub- stantial insights have been gained into the technical (infra)structures\, ideologies\, and redistribution effects in the environment of platform capitalism – although many (re- search) questions remain unanswered. \nGiven the conjuncture of metadata – as a phenomenon\, as a term – and\, more generally\, of those phenomena labelled as “meta”\, socio-technical constellations\, shaping the current production\, circulation\, and reception of popular music in a particular way\, be- come tangible. Labelling as “meta” (metadata – but also\, for example\, metatags\, meta- trend\, metamaterial or even the renaming of the Facebook umbrella company to meta) also evokes a zeitgeisty ambiguity and vagueness. “Meta-” is therefore at least as much a phenomenon of the cultural imaginary as of technological materiality. As the leitmotif of the conference\, “meta” (in the sense of the ambiguous Greek prefix μετά) refers to that which lies beyond the audible aspects of popular music\, that which ac- companies it\, that which exists in the spaces in between. \nThe conference will therefore focus not only on metadata and metatags in digital sys- tems\, but also on other meta information of popular music: although audible material- ity – referring to affordance theory – offers reference points for extra-musical attribu- tions of meaning\, the conference will focus on aspects of popular music that go be- yond sound. Popular music is inevitably linked to its spatio-temporal context; it unfolds in the coordinate system of socio-cultural\, economic\, ecological\, media\, technological and political axes. It is characterised by the multidirectional flow between different sources of information. Popular music’s meta information such as artist images\, genre classifications\, performative qualities\, fashion\, design\, charts positions\, marketing-re- lated communication\, social symbols\, lifestyle-related codes etc. therefore also enables us to explore the current expansion and concentration of the multi-layered ref- erence system surrounding popular music cultures. The prefix additionally describes change\, the alteration of a state\, e.g. in the sense of metamorphosis. It references the constant flux of the content labelled as popular music\, but also the fundamentally dy- namic nature of its forms and the fluidity of its production and reception. \nCfP:\nWe look forward to contributions from academics\, artists\, journalists\, and practitioners on the conference theme and welcome both thematically and formally free submis- sions dealing with relevant questions on popular music cultures. The latter will be con- sidered within the time frame of the conference. \nExemplary topics\nMetadata \n\nMetadata in music platforms (streaming\, alternative platforms\, shops)\nClassification of popular music in digital systems (genre classifications\, moods\, contextual classification\, classification methods\, etc.)\nCopyright in digital systems (royalty assignment\, CMO’s\, General Data Protection Regulations\, systematics etc.)\nFindability of music in digital systems and recommendation algorithms\nBias in digital systems (gender and race imbalance\, success parameters\, etc.)\nMIR (Music Information Retrieval) and AI in digital systems\nPower relationships in digital systems (Who has the power to decide on terminology? Who defines methods? Who possesses respective tools?)\nData management and transparency (Who has access to which data? Who has the power of disposal over metadata?)\nDigital humanities topics in the context of music-related metadata\nMetadata in and from popular music studies (e.g. coding interviews\, dealing with AI\, MIR\, ML etc.)\n– …\n\nMeta information \n\nInterconnections between popular music and fashion\, design etc.\nMemes\, TikTok and their non-musical reference systems\nArtist images\, music press and magazines\, blogs\, websites etc.\nAdvertising industry\, brands and music industry (music in commercials\, brand collaborations with artists\, brand presence at music events\, artist communication and marketing\, etc.)\nGenre classifications and further categorisation of popular music forms (e.g. context-related playlists)\nhysicality/corporality in popular music (e.g. communication through perforative qualities)\nSocial symbols and lifestyle-related codes (subcultures\, distinction from others\, layers of meaning)\nInteractions of meta information and content transfer by recipients (e.g. influencing variables on image generation\, categorisation of recipients\, transfer of non-musical qualities to musical content\, etc.)\nHierarchies and relationships between human and non-human entities and information\n– …\n\nMetamorphoses \n\nProduction and texture of popular music forms\nInfluence of metadata and meta information on the construction of meaning in the reception of popular music and changing reception environments\nChanges in the audible content subsumed under the term popular music over time and reflection with regard to associated meta information and holistic contextual variables\nArtistic research (e.g. exploring the influence of meta information on the production processes of popular music or critical reflection on its production and communication)\nCritical evaluation of established paradigms in popular music cultures and popular music studies\nChanges in the medial functionality of popular music within the context of predominantly digital reference systems\n– …\n\nWe particularly encourage contributions on all these topics addressing power structures and effects and\, for example\, questions of transnational inequality research\, gender and sexuality studies or racism research. As an explicitly interdisciplinary conference\, researchers from all disciplines working in the broad field of popular music studies are invited to present current research.\nContributions can be submitted in German or English in the following formats: • Individual papers (30 minutes presentation & 15 minutes discussion)\, • Panels (min. three presentations on a common topic\, total 60 minutes presentations & 30 minutes discussion). \nParticipation in the conference is free for members of all IASPM branches and students/lecturers of the University of Zurich and the University of Bern. The following participation fees apply to all other participants (to be paid by invoice/bank transfer after registration): \n\nFull conference: 100.00 CHF\nThursday\, 07.11.2024: 40.00 CHF\nFriday\, 08.11.2024: 40.00 CHF\nSaturday\, 09.11.2024: 30.00 CHF\n\nIASPM membership is not required to submit a paper or panel.\nThe publication of individual contributions as part of the IASPM D-A-CH ~Vibes series is intended.\nSubmissions must contain the following information: \n\nPaper and/or panel title\nAbstract (or individual papers max. 300 words\, excluding references to the authors of the abstracts; for panels max. 300 words on the panel topic and max. 200 each on the papers)\nFive Keywords\nName\, contact information and institutional affiliation if applicable\nShort biography (max. 150 words)\nApply for travel grant yes/no (see below)\n\nPlease submit your proposals online using our form by 15 February 2024 at the latest.\nThe evaluation and selection of the anonymised contributions will be carried out by the executive committee and advisory board of IASPM D-A-CH as well as the conference steering committee. We will endeavour to provide you with feedback by April 2024 at the latest. \nContacts: Andreas Schoenrock (andreas.schoenrock[at]hkb.bfh.ch); Moritz Ege (moritz.ege[at]uzh.ch) \nWe are planning to provide travel and accommodation reimbursement or grants for presenting IASPM-D-A-CH members\, provided that third-party funding is available. We furthermore intend to reimburse students for travel and accommodation expenses if they produce a conference report (text and/or audio/visual/audiovisual formats are possible). \nLooking forward to your submissions and fruitful discussions in Zurich\,\nAndreas Schoenrock (MAS Popular Music\, University of the Arts Bern)\nBritta Sweers (Institute of Musicology\, University of Bern)\nInga Mai Groote (Institute of Musicology\, University of Zurich)\nMoritz Ege (Department of Social Anthropology and Cultural Studies\, University of Zurich)
URL:https://oegmw.at/veranstaltung/6-iaspm-d-a-ch-tagung-zuerich
LOCATION:Universität Zürich\, Zürich\, Schweiz
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