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ISSN 1028-9968 The International Association for the Study of Popular Music (IASPM)

Number 29 (Summer 2000) • 11-August-2000 Bookmark

P R M The Review of Popular Music IASPM’s Website

Inside Editorial Dear IASPM members, the newly elected Executive Committee is already hard at Editorial 1 work on several projects. As you will see, the first of these is the call for papers for the 2001 conference, scheduled for 6- 10 July 2001 in Turku, Finland. Please spread this call as Conferences & Calls for Papers 2 widely as you can. Post the e-mail message to the lists you belong to. Xerox and distribute paper copies to your col- The Executive Committee 3 leagues, pin it up on your door, and send it to friends. The more people who submit proposals, the more interesting and challenging the final program can be. th 11 IASPM Conference 2001 5-6 We’ve created an ad hoc committee to evaluate the possibil- - Call for Papers ity of an IASPM book prize. Claire Levy and the members of this committee (Lutgard Mutsaers, chair, Shuhei Hosokawa, - Turku – IASPM Location 2001 Antoine Hennion, and Juan-Pablo Gonzalez) will make proposals that will appear in an upcoming issue of RPM for discussion by the general membership. The single biggest Recently considered 7 - 10 problem with this idea is, of course, the hegemony of English - in Osnabrück/Germany, June 1999 and the concomitant logistical difficulties of judging works in “small” languages and non-European languages in particular. - in St. John’s, NF/Canada, July 1999 But we remain committed to exploring the idea as thoroughly - in Sydney NSW/Australia, July 1999 as possible, and I have enormous faith that this committee - in Oslo, Norway, September 1999 will incite an important conversation for us. We’re working with several press editors and several volume - in Stockholm/Sweden, September 1999 editors on a book series proposal, as we discussed in Syd- - in Okinawa/Japan, December 1999 ney. This project is in very early stages, but is quite promis- ing, and Sheila Whiteley’s work on it has already been vast. - in Quebec QC/Canada, May 2000 You will surely here more about this initiative, too, in upcoming RPM’s. Studying Popular Music 11 We are in contact with scholars in several countries looking with School of English, Sydney, Australia to form new branches or revive old ones. Keith Harris has been working in particular with Czech, French, and Latin Mixed Messages 11 - 12 American branch members who are reinstating or consolidat- ing their branches, and there are several new branches in the Careers, works. As you’ve probably discovered, our web pages have a new Grants, Opportunities 12 URL. After much discussion, Heinz-Peter Katlewski suc- ceeded in establishing www.iaspm.net as our domain name, and www.iaspm.com as another that we own. An intuitive URL will help people find us more easily, and that’s important for both the organization as a whole and its individual members. Of course, the RPM you’re reading is another piece of Ex Omnibus Linguis No.4 Peter’s ongoing and monumental service to IASPM. To be continued on p. 3 2 Conferences & Calls for Papers

§ 17 to 19-August-2000 distribution, college radio, inde- POPKOMM.2000 pendent labels, film soundtracks, in Cologne/Germany: international and the economic state of the mu- fair, congress, and music event for sic business. Details: all kinds of popular music. Go: http://www.cmj.com/Marathon/inde http://www.popkomm.de x.html § 27-August to 1-Sept-2000 § 19-22 October 2000 Gateways to Creativity Playing with Identities International Computer Music Con- in Contemp. African Music ference in Berlin/ Germany, con- at Sibelius museum of Åbo sisting of Workshops, Tutorials Akademi University Turku, Finland. and Conference. Ambitious pre- The conference is part of the Nor- conferential workshops from Au- dic Africa Institute’s research pro- gust 24 to 27. ject “Cultural Images in and of Af- Details: ttp://www.icmc2000.org/ rica”. It deals with cultural dynam- § 7 - 9 September 2000 ics and questions of identities in 24 to 27-August-2000 contemporary African culture. In- III. Latin-American Censorship: Phenomena, quires and abstracts to: Mai Palm- Representation, Contexts berg, email: IASPM Conference in Newcastle upon Tyne, United [email protected] at the Academia Superior de Artes de Kingdom organized by the German Bogotá (ASAB), Columbia Dept. of the University of Newcas- § 1 to 5-November-2000 tle. For details visit: Musical Intersections Areas of interest with special focus on http://www.ncl.ac.uk/ a Mega Conference of 15 North- Latin America: censorship.conference/ American music scholarly societies ( incl. IASPM) in Toronto/ Canada. § Popular Music & Education § 11-September-2000 Inquiries to Prof. David Brackett, § Disciplinary Discourses & Popular Music & National email: [email protected], Popular Music Identities or: http://www.iaspm.net/us § Interaction between Local & in Newcastle upon Tyne, UK, run § 23 to 25-November-2000 by the School of Modern Lan- Global and Re-Definition of Popular Music & National guages & the Music Department of Popular Music the University of Newcastle. The Culture conference will examine Franco- a conference run in Ljubjana by § History of Popular Music phone, Hispanic and Lusophone the Slovenian branch of IASPM, and Germanic music and song in Drustvo za raziskovanje popularne The conference will bring together their social, musical and political glasbe, and ISH, Faculty of Post- researchers from Latin America, the contexts. For details visit their graduate Studies in Humanities. Caribbean and other regions inter- homepage: Contact: Rajko Mursic, email: ested in the study of popular music of http://www.ncl.ac.uk/sml/POPMUSI [email protected] (or in) Latin America. It intends to C/pmcfp.htm § 15 to 16-November-2000 promote mutual recognition and circu- § 13 to 15-September-2000 Music Practice lation of interdisciplinary research in Musique dans la rue/ the area of popular music of Latin & Aesthetics America. It hopes finally to consolidate Music in the Street is title of the first international con- in Montréal/Quebec, Canada, run ference of the Cyprus Musicologi- the Latin American branch of IASPM by SQRM (Société québécoise de cal Society in Nikosia/Cyprus. and establish continued modes of recherche en musique) & Music Conference languages: English interaction between researchers, insti- Department at the Université du and Greek. For details get in touch tutions and countries. Québec à Montréal (UQAM). For as soon as possible with: Languages of the conference: details get in touch with : Professor Dr. Panicos Giorgoudes, email: Sylvie Genest, email: [email protected] Spanish and Portuguese [email protected] § § 19 to 22-Ocotober-2000 Details: CMJ Music Marathon Omar Romero in New York NY claims to cele- III Congreso Latinoamericano IASPM brate today’s music and charting [email protected] its direction for tomorrow. In addi- Academia Superior de Artes de Bogotá tion to keynote speeches and an Departamento de Música exhibition area featuring a live per- Carrera 13 No. 14 - 69 formance stage, there are more than 50 panels on topics including Santafé de Bogotá radio promotion, artist manage- Colombia ment, digital downloading/ MP3, web casting, Internet sales and 3

ant and ad hominem forms. The Editorial executive committee is certainly The IASPM open to suggestions along these Executive Committee continued from page 1 lines during the early days of conference planning. from 1999 through 2001 is: On a more personal note, I’ve been Chair: thinking a lot since Sydney about 2. While I have not seen it myself, interdisciplinarity, for several rea- if Jan and others are right, and Anahid Kassabian sons. we are less welcoming to mem- [[email protected]] bers from the music disciplines, is a film and ubiquitous musics · As the new chair of IASPM, and we certainly should address that, scholar, editor of several volumes, soon-to-be-outgoing editor of too. teaches media studies at Ford- Journal of Popular Music Stud- ham University in New York, ies, I’ve spent a lot of time on 3. While I am deeply honoured to NY/USA IASPM business over the past be the first woman chair, and couple of years, as I will for at chair of a majority female execu- General Secretary: least the next two. tive committee, there is plenty of room for more women and more Sheila Whiteley · [[email protected]] At the same time, I and many of work on women and gender; for my friends in popular music stud- is based in the Music Department more non-European people and ies and in cultural studies more at Salford University where she more work on musics outside of generally are experiencing a se- heads up Research and Post- the US/UK tunnel vision syn- rious retrenchment in the US graduate Studies, and is a Pro- drome; for more work not on academy. (I can only hope that fessor in Popular Music youth musics; and so on. this is less true elsewhere.) There’s definitely enough room for improvement to keep us all Treasurer/ · And as the executive committee busy. Membership Secretary: has been putting together the Keith Harris call for papers for our 2001 con- But to my mind, the most important [[email protected]] ference in Turku, Finland, I’ve task before us is to understand, is a PhD student at Goldsmith also been thinking a lot about the value, and nurture IASPM’s extraor- College, London/ UK closing plenary in Sydney. Jan dinary intellectual generosity and Hemming asked how many mu- openness. We can and should put Publication Officer/ sicologists were in the audi- energy into opening new avenues of Webmaster: ence—a reasonable question by work without losing sight—or Heinz-Peter Katlewski any reckoning—and I immedi- sound?—of what an unusual model IASPM provides for each of us. [[email protected]] ately wanted to know how we could define a musicologist. is a free lance Radio-Journalist, Anahid Kassabian, Chair dealing with Music, Education and I keep wondering if and how all of IASPM - The International Associa- Religious Affairs. He lives in Ber- these things are connected. It was tion for the Study of Popular Music gisch Gladbach, Germany. never the case that disciplinarity lost its hold on academic life and aca- Member at Large: demic identities, so my question Claire Levy about musicologists surely seemed [[email protected]] disingenuous from at least some Shortcuts perspectives. By most reckonings, is an Assoc. Prof. in popular mu- These branches – additionally to sic studies and based at the Insti- the answer is simple; musicologists are people with musicology Ph.D.s. using the URLs of their websites – tute of Art Studies of the Bulga- can also be accessed with these rian Academy of Sciences The retrenchment I’m noticing definitely prefers the simple answer. shortcuts easy to remember: Convener IASPM conference Training. Disciplinary imprimatur. The § Australia/New Zealand Turku/Finland 2001: appropriate hoop-jumping. But if we http://www.iaspm.net/anz Henri Terho have been right, in IASPM, to bring § Benelux: outside methodologies into musicol- http://www.iaspm.net/benelux [[email protected]] ogy and musicological methods out teaches and researches Cultural into other disciplines, then the “train- § Bulgaria: History at Turku University. He is ing” answer is too simple. For me, http://www.iaspm.net/bulgaria chair of IASPM Norden branch. IASPM creates the most welcoming § Canada: environment for cross-disciplinary http://www.iaspm.net/canada and interdisciplinary study of any § German speaking coun- Postmaster Int. Mailing lists: organization I know. That’s why I keep choosing to put energy into it. tries: Steve Jones http://www.iaspm.net/german [[email protected]] As for IASPM’s flaws, there are § United Kingdom & Ireland is Professor and Head of the enough to keep all of us busy. http://www.iaspm.net/uk Department of Communication at 1. Will Straw was right; IASPM is § United States of America: the University of Illinois - Chicago. not as confrontational as it once was. I certainly hope we can re- http://www.iaspm.net/us vive some of that vitality, pref- erably without its more unpleas- 4

IASPM – The International Association for the Study of Popular Music 11th Biannual IASPM Conference, July 6-10, 2001, Turku, Finland Call for Papers ! Looking Back, Looking Ahead Popular Music Studies 20 Years Later Day 1 (July 6, 2001) Since its first meeting in Am- sterdam in 1981, IASPM has Spotlight on the Basics served as a hot house for Theory and Methodologies thinking about popular music. Convener: Anahid Kassabian We welcome work from every academic discipline, from Day 2 (July 7, 2001) journalists and public intellec- Identities and Subjectivities tuals, and from popular music Convener: Sheila Whiteley makers. For this, our 20th anniversary conference, we es- Day 3 (July 8, 2001) pecially invite proposals for work that addresses both gaps The Invisible Mainstream and developments in popular Conservative, Ubiquitous and ‘Popular’ Musics music studies since IASPM's Convener: Keith Harris inception. We are similarly interested in work that imag- Day 4 (July 9, 2001) ines possible futures for popu- History in Progress lar music studies. Shifting Strategies This five-day conference will Convener: Claire Levy take us to the lovely city of Turku on Finland's West Day 5 (July 10, 2001) Coast, which is directly across Visions, Vanguards, Vehicles the Baltic Sea from Stock- Technologies and Other Futures for Popular Music holm. The conference will in- Convener: Heinz-Peter Katlewski clude five full days of talks, workshops, and discussions, with live music or deejays on several evenings. In addition, Deadline for submission of proposals is August 31, 2000. the host committee is working Proposals should be 200-300 words, and include on planning outings of various § title sorts for the days immediately § contact information before and after the confer- (incl. name, email and postal address) ence. § theme resp. day that fits most closely to your interests § type of proposal Each of the five days of the (For panel proposals, please be sure to include an abstract for conference will have a specific each individual paper. For workshops, roundtables, or other for- theme. We especially encour- mats, please describe how you propose to conduct the session as age submissions of paper well as a full abstract describing the issues to be discussed) abstracts, panel proposals, Except in the most extraordinary circumstances, submissions should be workshops and roundtables forwarded by e-mail to: addressed to these themes, [email protected] which the committee has iden- tified as central to the contem- If e-mail is impossible, proposals can either be faxed to porary debates in the field. § Anahid Kassabian (+1-973-331-0865), or posted to § Keith Harris, 57 Goring Road,London, N11 2BT, UK They are: 5

still forms a high percentage of the total sales in the country. Finnish rock is known for its personal sound and weird sense of humour. Many bands have a cult following in Europe and Japan, for example 22-Pistepirkko and Don Huonot on the Location for the IASPM 2001 indie scene, the Leningrad Cowboys, who have successfully Turku is Finland’s oldest city, located on the south-west coast, mixed their own rock band concept with the Soviet Red Army where it has maintained contacts with Scandinavia and with Choir, and Apocalyptica, which plays Metallica’s music ar- continental Europe since medieval times. Under the kingdom ranged for a string quartet. of Sweden, until 1809, Turku (in Swedish Åbo) was Finland’s The Turku company Sähkö Recordings has come up with provincial capital. Today Turku has a population of 168.722 some lo-fi techno bands, such as Pan Sonic (formerly Pana- (Dec 1997) and together with its surrounding towns it has a sonic) and lounge-jazz-funk-artist Jimi Tenor. Groups such as total metropolitan population of about a quarter of a million, Värttinä, Maria Kalaniemi’s Aldargaz and Gjallarhorn have which makes it one of the major urban centres of Finland. during the last decades given Finnish folk music a new flavour by combining national traditions, personal creativity and international influences and also managed to break through on the international world music market.

Åbo Akademi, Turku A special feature of Turku’s surroundings is its location by the seaside, next to one of the biggest archipelagos in the world. If you plan to stay a bit longer you can tour the archipelago The city of Turku maintains a symphony orchestra, two thea- outside Turku by ferries, bus, private car, motorcycle or bicy- tres, two larger public art galleries, and major music festivals cle. The largest of the 20.000 islands and islets are connected in classical, jazz and rock music. What comes to evening and by bridges, ferries and boats forming a string of green pearls night time activities, Turku has one distinctive speciality: Turku in the blue Baltic sea. hosts a peculiar variety of buildings converted into pubs. First there was a bank converted into pub, later a pharmacy and The easiest way to come to Turku is by air via Helsinki or school house converted into pubs and finally a municipal loo Stockholm. There are non-stop flights to both Helsinki and converted into pub with seatings for a few dozens of custom- Stockholm from all major airports in Europe, and for example ers. from Singapore, Tokyo and both the East and West coasts of North-America. There are several flights per day to Turku from July is a distinctively relaxed month in Finland. Most people Helsinki and Stockholm and the flight-time is less then an are on holiday and run off to the countryside, archipelago or hour. Lapland to enjoy the arctic sun. The summer weather is at best in July with the temperatures rising regularly over 25 Besides being the oldest city in Finland, Turku is also the degrees Celsius and with very little rain if any. On the other oldest university city in the country. The first university in hand, this is the time of the year when the whole country is Finland, Academia Aboensis, was established in Turku in filled with summer events. Every self-respecting town or vil- 1640 by Christina, the Queen of Sweden and Finland. In 1828, lage has at least one festival. If you have the possibility to stay following the Great Fire of Turku, the university was trans- any longer in Finland we recommend especially the following ferred to Helsinki, the new capital of the country, which at the festivals, which will be arranged in July shortly before or after time belonged to the Russian Empire. Finland’s achievement the IASPM-2001 conference: Ruisrock in Turku which is a of independence in 1917 however gave new impetus to traditional rock festival, second oldest still running in Europe; aspirations for establishing university education in Turku Pori Jazz festival, which nowadays hosts not only jazz but also again. Thus University of Turku (in Finnish Turun yliopisto) a wide repertoire of various musical styles; Kaustinen Folk was founded in 1920. Today the number of students at the Music Festival featuring folk music from Finland and abroad; University of Turku is 15.600 and the personnel number about and finally, a Finnish peculiarity, The Tango Festival in 2.500. Åbo Akademi University was founded in 1918 as the Seinäjoki – which attracts the largest audience in Finland, with only comprehensive Swedish language university in Finland around 100 000 tickets sold each year. taking care of the higher education of the country’s Swedish speaking minority (amounting to 300.000, or 6% of the For additional information and Internet links, see the confer- population). About 5.500 students perform their studies at Åbo ence web site: Akademi, and the personnel number about 700. http://www.utu.fi/hum/historia/kh/iaspm/conf/ (also a link from http://www.iaspm.net).

Cultural Activities and Finnish Music Scene The local conference committee: Finland is of course well known for Sibelius, but the country also has a strong local popular music scene and a vital folk Helmi Järviluoma music tradition. The Finnish schlager, or popular song, which Johannes Brusila and was born when local folk music merged with elements from Henri Terho Eastern and Western Europe songs and Afro-American music, 6

and art. It was subtitled ‘Global Village, Global Brain, Global Music’. The programme centred on forty invited guest speakers, including some of the best internationally recognised practitioners in the field. Overseas speakers included Chadabe, Emmerson, Finch, Truax, and the upcoming generation of Palmer, Rudi, and Lyon. Leading German based writers, composers and programmers included Enders, Noll, Essl and Zannos. Given the calibre of presenters, it is difficult to single out papers for particular mention. While focusing almost exclusively on production, topics covered artificial intelligence in composition, new music software and hardware, global music aesthetics, historical reviews, and issues of music theory. The lectures will appear next year in a two-volume book in English Synthesis and Renewal: KlangArt 1999 and Ge r man. Osnabrueck, Germany. 10 –13 June 1999 Despite the diversity of papers, most presenters were digitally based composers and/or computer programmers associated The biennial KlangArt began in Osnabrueck in 1991. It contin- with music, computer science or arts departments. Evident ues to explore the influence of electronics on mainly avant- within this group was an increasing awareness of recent writ- garde electronic and computer music composition and per- ing in music cognition, and cultural studies approaches to formance, and includes its influence on jazz, rock and other music. Additionally, younger practitioners appear far more popular music forms. The event is organised by the Os- informed and comfortable with the best aspects of the older nabrueck Music and Electronics Forum with the co-operation academy approach to computer music and the innovations of of the city of Osnabrueck and university. It usually has three popular music. sections: the KLANGART Festival, the KLANGART Congress on New Music Technology, and KLANGART MusiTec exhibi- Historically, the focus of many computer music conferences tion. has been on technological invention at the expense of aesthetic and social concerns, and the traditional Humanities This year the Festival was spread throughout the city with live canon of the synthesis of invention, aesthetics and pragmatic acts and installations from a range of electronic music practi- outcomes largely marginalized. It is refreshing that through tioners. A central theme was that artists were acknowledged journals such as ‘Leonardo’ and ‘Organised Sound’, and as developing new trends and perspectives in their respective events such as KLANGART, that this synthesis and renewal is idioms. Many had written new material specifically for the again being made possible within the academy. festival. The headline act was the Berlin band ‘Tangerine Dream’ who played a memorable concert to an enthusiastic Further details on Klangart can be found at: crowd. http://www.musik.uni- osnabrueck.de/veranstaltungen/klangart/1999.htm Among the various concerts and installations were two main commissioned works: ‘Zeitgeist’ performed over two days by Ian Whalley Vladimir Ivanoff and Oswald Henke; and ‘The Ancestral Path’ Music Department. Waikato University, New Zealand by American artist Chico MacMurtie, whose electronically Email: [email protected] controlled robots with the addition of pneumatics moved in order to make music. Symposium Sharing the Voices II: The The KLANGART MusiTec section concentrated on innovations in electronic musical instruments through exhibitions and Phenomenon of Singing International workshops. Notable this year was ‘The Bodycoder System’, a St. John’s NF, Canada, 2 – 5 July 1999 Under the most glorious skies beside the sea 50 scholars and musicians met in St. John’s, Newfoundland Canada during the first long week-end of July this year to participate in the second Sharing the Voices: The Phenomenon of Singing Interna- tional Symposium. Participants have enthusiastically told us that the best part of this symposium is the diversity which is brought together under the theme of singing. Our call for papers invites presentation on any of the following themes in singing: cultural, sociological, historical, pedagogical, compositional and artistic. Again for the second symposium each focus area was well represented. The symposium is part of the larger cultural event in New- foundland now recognized world-wide as a major international From left to right: Hildergard Westerkamp (Vancouver, choral festival, Festival500, named in honor of the first festival Canada) Barry Truax (Simon Fraser Univ., Canada), Iannis having taken place on the 500th anniversary of Cabot’s landing Zannos (Staatl. Inst. für Musikforschung, Germany), Joel Chadabe (EMF, USA). in Newfoundland in 1497. Choirs from around the world come tp perform and experience choral workshops and clinics with choral leaders from around the world. sensor suit for real-time control and manipulation for audio and visual material by Mark Bromwich and Dancer Julie Wil- The International Symposium is an integral academic compo- son. nent of the Sharing the Voices: Festival 500 and occurs immediately prior to the Festival 500 itself so that our partici- The central theme of the 1999 KLANGART Congress, co- pants who wish can stay on for the rest of the festivities. The ordinated by the Department of Music and Media Technology goal of the symposium to gather together international exper- at the university, was the interlocking of science, technique tise, provide a forum for interdisciplinary academic discussion 7 and the dissemination of research and generate further ently talking about men only. But nevertheless, since so many knowledge relating tot he phenomenon of singing. of us demonstably practice music also by playing it, there In 1999 the organizing invited four plenary speakers. Johan were no “authentic” hip hoppers with extra-large jeans – apart Sunberg whose presentation was titled “Where is the sound from Caspar Melville, of course – or death metal people with and what controls it”. Our next invited speaker was Nancy black leathery gear and hair amongst us scholars. Is this Telfer whose talk was titled “Singers wearing lionskins”. Third precisely why so many of us are interested in these phenom- on our list was Horace Boyer who presented a session on ena? Is the quest for a better understanding of the “reality” Gospel and African American music. Let’s just say it wasn’t a surrounding us filled with encounters with the Other? In Syd- talk! Finally the committee invited world renowned Canadian ney, on paper, it was; in person, hardly. composer R. Murray Schafer who gave an inspiring discus- Of course, we encountered “the Other within” many times. sion of “Voice: the original instrument”. Geographically, it came in the form of sun going in the wrong In addition to the invited speakers, nearly 50 other scholars direction and of Karl Neuenfeldt’s removable trousers’ legs; from Canada, the UK, the USA, South Africa, Australia, Swe- gastronomically, in the form of sandwich lunches, schooners den, Ireland, and Japan gathered to present juried selected and cockroaches, and schooners again – nothing odd there in papers under the headings of all of the focus areas. I’ll offer the “again” part, then; nominally, in Anahid Kassabian being a just a few titles to show the diversity of the presentations: female after all these years. It came also in the form of myself, as Christopher Ballantine and Bruce Johnson at one point so § How can I keep from singing: A lifetime of sweet singing generously granted a permission to “the Other to speak now”. in the choir § Bi-musicality in Japanese folk song and Italian art song: Those were the days, my friends. It feels like they were a A study of vocal timbre dream – in more senses than one. It never seizes me to won- § A gestural language for the representation and communi- der how come all these wonderful people come to gather at cation of vocal harmony the same place. There must be something extraordinary in the § Experience of self in the music of heavy metal singer subject matter; for it has been clear for me for some time now Timmy Owens that it cannot be me. Thank you all, and hopefully I will see as § Vocal timbre preference in children many of you as possible in Turku 2001 Conference. And since § RehearSING! from the podium nobody showed me any live kangaroos while in Down Under, I § Birth of a website: Creation of the Diction Domain promise not to show you any live reindeers when you come to § Songs by women composers of the 18th and 19th Century Finland – unless there are some of them gigging in Turku at § Improving Choral Diction that time. § The Arts Songs of Harry Burleigh (lecture recital) Antti-Ville Kärjä § Singing in German: Moving beyond the diction class Helsinki, Finland § “She’s like the Swallow”: Creating a cultural icon Email: [email protected] It is difficult to express in any condensed format the enormous energy that was present at the symposium. The caliber of presentations was very high. The ability to move around The conference had finished. The next day, after having among the various areas of expertise offers a unique way to finished a bit of my homework at the State Library of NSW in place your own knowledge base in a perspective that is not Sydney, I happened to come across Hiroshi Ogawa at Circular easily done elsewhere. For music educators to confront sing- Quay. He was on his way to the box office at the Opera ing technicians for an hour followed by folklorists the next and House to get a ticket for “Il Trovatore.” Looking and roaming musicologists the next makes for a remarkable experience. around souvenir shops at the Rocks, Hiroshi and I exchanged Not all of our time was devoted to heady work at the univer- our views on the conference, the research, the researchers of sity. Most everyone came along to the dinner theater and also popular music, and the IASPM. went whale watching and most said they would come back for Both of us are, to some extent, becoming part of a generation these events even without another symposium. that can no longer be called “young.” Hiroshi participated in The Proceedings for the 1997 symposium are currently. his first IASPM conference in Paris in 1989 and has already Check the website above for availability and ordering informa- experienced six of them including the Sydney conference. My tion. http://www.ucs.mun.ca/~singing/bkorder.html first conference was the one in Gosen, Berlin in 1991. Dr. Brian A. Roberts Looking back over the last decade, I have come to realise that Memorial University of Newfoundland many things have changed: the fall of the Berlin Wall; the end Faculty of Education and member of the Symposium Or- of the Japanese “bubble economy”; the birth of the EU; the ganizing Committee loss of dignity of the President of the United States; and grow- ing ambiguities in issues everywhere. Societies change as Email: [email protected] does the sound of popular music. “Changing Sound,” the theme of the Sydney conference, itself was symbolic of the 10th anniversary of the biennale. th IASPM 10 International Conference Speaking of the Sydney conference, it was beautifully organ- Changing Sounds: New Directions ised and we were all happy with the warm welcoming events every evening. Hiroshi and I felt, however, something is and Configurations in Popular Music changing. When the conference was held in Berlin, I was a Sydney NSW, Australia, 9 – 13 July 1999 secretary of the Japanese branch. To deal with the many complicated issues concerning organising and restructuring The only way to start an international conference is to spend the association on both an international and national level, we 28 hours in an aeroplane. That is what I thought; I was wrong. met, talked, and negotiated behind the stage while the paper And to spend only six days on the other side of the world does sessions were going on. Passion, enthusiasm and the will to not allow one’s jet lag to settle down – the good side of this is “change” seems to have been the “thorough-bass”, or the that after returning there is no sign of the second jet lag. But basic concepts, of the time. But today, the will “to change there is also a danger that there is no sign of the actual pur- something” has been replaced by the feeling that “something pose of the journey. Luckily enough some things did stick to is changing”, and it is this feeling that we shared in our con- my mind. versation. “All the folk music scholars have long hairs and beards”, one At every conference, at the climax of the five-day sessions, fellow conference attendant enlightened me, “and all the popu- which seem both long and short at the same time, the closing lar music scholars seem to have short hairs”. He was appar- 8 remarks are always moving. Sydney was no exception. Will Beatles, Stevie Wonder and Coolio, and Nurmesjärvi about Straw’s remarks are worth mentioning not only for summaris- the problematic concept of form in ing the conference, but also for providing the seeds of discus- relation to the music of The Beatles. A larger Finnish project sion about how the conference should be in the future. Hiroshi which studies the history of Finnish popular music was repre- and I agreed that the success of the conference chiefly de- sented by Jari Muikku (Helsinki University), who personally pends on each paper presented at the sessions. Every paper focuses on the production culture of the Finnish recording plays an equally important role and is highly decisive in the industry 1945-90 and its effects on Finnish popular music. direction the conference heads. Despite our inefficiency, the Kanazawa conference in 1997 could be referred to as a major Many of the papers dealt with Nordic, local or national topics, success because all the papers read there were of excellent although with different accentuations. The city festival ‘Down quality. In this regard, one of the most unforgettable moments by the Laituri’ and its impact on the cultural life, space and at the Sydney conference, for many of us, was the presenta- soundscape in Turku were discussed by Henri Terho (Turku). tion by Christopher Ballantine. Following the last paragraph of Thomas Bossius’ paper about the functions of black metal as the paper, the great applause lasted for quite a long time. an extreme music and extreme religion in contemporary youth culture in Sweden and Lars-Olof Nyström’s on the Swedish PS: After the conference, struggling in Sydney both with writ- middle-of-the-road dance-band music of the middle-aged ing a draft for a paper to be presented at another conference audience showed some of the polarities found in both the and with the cold I caught, I am still in Sydney, where I am musical life and research in the Nordic countries (both coming sitting and writing in the “studying room” at the State Library. from Göteborg). Yngvar Steinholt (Aarhus) enlarged the per- The beautiful blue skies of Australia spread out above us. The spective eastward by providing an analysis of the lyrics in the sun shines brightly through this glass-ceiling of the building. new wave rock of pre-perestroika Leningrad. The question of The wind is chilly in the evening, but is this really winter? the construction of nationalism in the era of globalism was In this heart-warming atmosphere, I must again thank all the brought up by Virva Vainikainen (Stockholm), who examined organisers and staff of the Conference and the Australia-New how Paddy’s Parade in Dublin has changed to a global cele- Zealand branch led by Tony Mitchell, Shane Homan and oth- bration of Ireland’s National Day. ers for their hard work, help, and kindness. Thank you, Syd- Questions of musical aesthetics, form and how to conduct ney! research in popular music were also discussed. Karin Peter- Toru Seyama sen (Aarhus) for example summarised some of the key issues Musicology Department in the aesthetic choices in current popular music. An analysis Osaka Universwity of Arts, Japan of the complexities of time and form in funk music was pro- Email: [email protected] vided by Anne Danielsen (Oslo). Yrjö Heinonen (Jyväskylä) examined some of the more general questions of popular music studies, taking as his starting point the rhetoric question: should popular music research concentrate on popular Current Trends in culture or music that is popular? Nordic Popular Music Research The atmosphere of the symposium was intimate, relaxed and constructive and showed the need for a regular meeting of Oslo University, Norway, 11-12 September 1999 IASPM’s Nordic branch. Apart from 19 presenters an addi- IASPM’s Nordic section, which includes members from Den- tional 15 scholars attended the workshop. A warm thank mark, Finland, Iceland, Norway and Sweden, arranged its should be directed to Stan Hawkins for the enthusiasm and 1999 branch meeting in Oslo in September. The symposium energy he showed in arranging the event. Crucial help was was entitled ‘Current Trends in Popular Music Research’ and provided by voluntary student workers Espen Eriksen and Erik the aim was to present an overview as broad as possible of Strandberg. Altogether the workshop gave an encouraging current research projects in the Nordic countries. The papers picture of the future prospects of the branch. The membership presented certainly showed how versatile the topics today are, figure of IASPM-Norden is increasing significantly and both ranging from analyses of local and national phenomena in the old and new members have showed an interest for the grow- Nordic countries to more global considerations and general ing activity in the branch. Abstracts of the papers presented at aesthetic contemplation. the symposium can be found at the IASPM-Norden homepage (in the section ‘Archives’). The two keynote speakers, Kari Kallioniemi from the Depart- ment of Cultural History at Turku University and Tellef Kvifte Johannes Brusila, from the organising department in Oslo, are good examples of Åbo Akademi University/Finland the diversity found in the Nordic countries today. Kallioniemi Email: [email protected] focused on the idea of Englishness in discussions about Brit- ish pop music (based on his PhD dissertation ‘Put the Needle on the Record and Think of England - the Notions of English- Music and Manipulation: On the Social ness in the post-war Debate on British Pop Music’, Turku Uses and Social Control of Music University, 1998). Kvifte spoke about the globalisation trends in folk and world music, making comparisons between old and Stockholm, Sweden, 17 – 10. September 1999 new ideas of concepts such as ‘the people’, ‘folk’, ‘authenticity’ The international conference, held by Department of Public and ‘ethnicity’. Health Sciences of the Karolinska Instituitet , brought together Some of the on-going larger Nordic research projects were a group of 18 renowned specialists in the fields of biomusicol- also included in the program. Gestur Gudmundsson (Iceland), ogy, musical anthropology, sociomusicology, film, television, Ulf Lindberg (Aarhus), Morten Michelsen (Köpenhamn) and video, public health, psychology, musicology, history and the Hans Weisethaunet (Bergen) presented an over-view of their music industry to discuss a broad range of issues related to new project which aims at examining the history of rock criti- how music is used and controlled at the social level. The cism in Britain from a Bourdieuian perspective. John Richard- conference was attended by 105 participants from 10 coun- son and Terhi Nurmesjärvi gave a picture of some of the re- tries (Austria, Denmark, Estonia, Finland, France, Great Brit- sults and questions that the ‘Beatles 2000’ research project at ain, Italy, Lithuania, Sweden and the US) and generated much Jyväskylä University have come up with. Richardson spoke interest from the Swedish press (both radio and the written about the connections between the ‘death drive’ and the musi- press). cal codes found in the music of Bernard Herrmann, The The three days of the conference led to stimulating discussions of a diversity of topics related to how music influences 9 social life. Important points of discussion included the follow- participants, not only for the JASPM members from through- ing: the biological and cognitive mechanisms through which out Japan, but also for the general public in Okinawa as well. music influences human emotion and action; cross-cultural In the reception party held in the evening of the first day, em- differences in the way music is used and controlled; the influ- ceed by INOUE Takako, we could enjoy traditional folk songs ence of music on social identity; the re-use of well-known and dances of Okinawa and Balinese gamelan ensemble, both music in contexts it was never originally intended for, such as performed by teachers and students of the universities in classical music in television commercials; the techniques by Okinawa. Even more exciting was the performance of KOJA which composers are able to design music to fit particular Misako, a former member of the Nenes, who was invited as a social messages; the incredible influence of background mu- special guest for this welcoming party. Moreover, participants sic (e.g., in stores) to influence consumer behaviour and other were guided by some connoisseurs of Okinawan music and behaviours; the health effects of environmental music; transfer enjoyed visiting local live-houses after the party until late in the effects of music listening on other cognitive skills, such as night. whether listening to Mozart’s music increases learning capa- bilities; the rights of authorship for composers and performers; The second day consisted of paper sessions and workshops. the balance of competing interests in the contemporary music Since two paper sessions were paralleled and also were two industry and the tremendous effect that the internet is having workshops, it is impossible for me to report all the papers read on this balance; and the widespread use of musical censor- and the discussions made at the conference. But I think, at ship and propaganda throughout the world. least, transcribing the titles would be some help to those who are interested in the subjects: Each talk at the conference was followed by a 10-15 minute discussion session, and each half-day was concluded with a § Paper session A (Chair: SHIBA Shun’ichi) 30 minute general discussion. The conference was concluded § AZAMI Toshio (Victor Entertainment): “Change of power with a general synthesis as well as a one-hour panel discus- in the music industry observed in the system restructuring sion with 10 speakers from the conference. Overall there was of the recording companies” very active discussion of the abovementioned issues, and § MORIKAWA Takuo (Warner Music Japan): “A history of most people said that the conference was a great success. popular music in Japan based on statistic data: From the viewpoint of record production” Overall, the conference touched on many important issues § TANAKA Kenji (Saga University) and SEYAMA Toru dealing with the relationship between aesthetics and morality. (Osaka University of Arts): “Where have all the pianos It is hoped that such discussion might be continued one day in gone?: Development, authenticity and domestication of the future in a follow-up conference. the electronic instruments in Japan”[Japanese version] Two of the conference organizers, Steven Brown and Ulrik § YAMADA Harumichi (Tokyo Keizai University): “A story of Volgsten, are now in the process of putting together a book ‘KAHALA Tomomi’ by examining the lyrics of KOMURO based on the conference. They have elicited interest from Tetsuya” three international publishers and are hoping to get the book § Paper session B (Chair: IWAMURA Takuya) out by the end of 2000. § TAKAHASHI Miki (Okinawa Prefectural University of N.N. Arts): “Producer CHINA Sadao’s strategy: through the (Thanks to a computer crash, I lost the author’s details. analysis of the CD albums of the Nenes” § INOUE Takako (Daito Bunka University): “Reception of Please N.N., react, so I can add your name to the Indian music in Japan” RPM online version; HPK) § NAKANO Takashi: “A tentative theory on the rock guitar 11th Annual Meeting sound” § TSUCHIYA Tadayuki (Science University of Tokyo): “On Japanese Association for the Study of the movie ‘Titanic” and the lyrics of ‘My Heart Will Go On” Popular Music (JASPM) § TOMITA Akira: “Punta rock: Garifuna music in New York” § Workshop A: “Study on the fast-selling Japanese pop: Okinawa, Japan, 4 to 5 December 1999 UTADA Hikaru’s ‘Automatic’ as a case study” Entering its second decade, the JASPM conference opened at § OGAWA Hiroshi (Chair, Kansai University); OSUMI Okinawa Prefectural University of Arts in Naha City. Near the Kin’ya (Naruto University of Education); AKIMOTO Jun conference venue lies Shurijo Castle, which reminded us of (Osaka University of Arts); OGURA Toshimaru the long history of the Ryukyu Kingdom. After the simple § (Toyama University); MURATA Kimikazu (Coordinator) opening ceremony, Philip HAYWARD (Macquarie Univeresity, § Workshop B: “Aspects of Okinawan J-pop in ‘90s: Focus- Sydney in Australia) read his keynote paper titled “Local Syn- ing on the musicians graduated from Okinawa Actor’s cretism - Emergent Pacific Musics” in which he took music School” examples from Papua New Guinea and illustrated the aspects § ONISHI Koji (Nihon University); KIMURA Yuichi (Hyogo and processes of “reconstruction” observed in the West Pa- University of Teacher Education) cific. Following and stimulated by Phil’s emphasis on the Toru Seyama need of cooperation in popular music studies around the Pa- Osaka University of Arts, Japan cific area, a symposium was held focusing on Okinawan mu- http://www.ne.jp/asahi/music/seyama/ sic. As the title of the symposium, “Development of popular music in Okinawa after World War II,” suggested, it gave us a (Pre) Millennial Tensions: Pop Music at lot of interesting information about Okinawa and its music. Two of the panellists, KOHAMA Tsukasa and BISE Yoshika- the Precipice tsu, are producers who sketched a history of Okinawan traditional folk and popular music with many episodes and anec- Québec City, Québec, Canada, 20 to 21 May 2000 dotes. SHINJO Kazuhiro, a critic and writer known as a spe- The conference of the Canadian IASPM chapter was gra- cialist in Okinawa studies, depicted some musicians and their ciously hosted by Serge Lacasse; a member of the Canadian music based on Okinawan folk songs. Politics, social struc- IASPM executive. The session opened with a touching tribute tures and languages were also discussed by SHINOHARA to Gaston Rochon, a beloved member of IASPM who sadly Akira of Daito Bunka University. Coordinated and chaired by passed away recently. The moving dedication provided by KUMADA Susumu who also chaired the organizing committee Line Grenier reassured IASPM members that Gaston - a long and did almost of all the local arrangements this time, the time member and friend of many in the society - would not be symposium was open to the public and really fruitful for every forgotten. 10 With the exception of Philomena McCullough from University meeting the group reassembled at the home of Serge Lacasse of Minnesota, the first day of presenters were made up of for a festive backyard party. Comfortably seated on lawn residents of Québec from McGill or Université Laval. Paul chairs and sipping beers members made plans for future Théberge and Keir Keightly comprise two other exceptions; connections. although they have only recently made their migrations from Melissa West Québec to London Ontario's Western University. It seems York and Ryerson Universities Serge Lacasse will take what is becoming a well-worn path Toronto ON, Canada between Québec and London to join both Paul and Keir in the Email: [email protected] fall. The panels presented on the first day featured discussions of American musical cultures, musical taste and cultural policy and politics. Mark Hayward delivered an engaging paper on The Generational Politics of Music in 1950s Harlem in which he unpacked the youth/adult binary defining youth as passive, overly involved and irrational and adults as passive, moral, and normalized. He further explained how the agency of "irrational" teens through the consumption of popular music threatens the adult hegemonic norm. It would be interesting to see Mark Hayward explore these issues along racial lines. Keir Keightley continued the discussion of the adult/youth dichotomy with his paper: The LP and the Development of Adult in Pop in the Post-War Era. He discussed the age taste nexus where adult predilection for the album is said to be mature, sophisticated, stable, and logical with a consistent economic base whereas youth's preference for the single was viewed economically as volatile, turbulent and expeditious; University of New South Wales, Sydney, Australia tied to notions of youth hysteria and nonconformity. Later that afternoon Paul Théberge dispelled myths concerning the School of English: Popular Music threat of mp3s to record companies citing evidence that online There are several courses offered by me which are di- mp3 companies such as mp3.com are actually losing millions rectly and indirectly connected with popular music. A sam- of dollars a year despite inflated stock values. Not only are ple is outlined below. In addition, popular music is referred mp3 companies losing a great deal of money, but record to in courses on Australian Modernity and Postmodernity, companies will continue to make a great deal of money on and lectures such as ‘Censorship and Music’ and ‘Signify- promotional items such as t-shirts and posters whether or not ing Practices’ presented in other courses. There are also they continue to sell CDs. Serge Lacasse presented a fasci- research opportunities; current and recent programmes nating paper on sound and technology providing a glimpse of conducted by my research students include work on music his recently completed Ph.D. dissertation which provides a policy, film music, music research methodologies, urban theoretical and practical framework for analyzing recording soundscape. techniques used to stage the voice in popular music. Following the presentations the entire group piled into cars, 1. Popular Music, Popular Culture drove to old Québec, and convened on the patio of a pub, This course examines issues relating to the practice and which, when translated into English, is named "The Atomic study of popular music in the nineties. The emphasis is on Ant." Two-for-one beers set the tone for the evening. After semiotics and cultural politics, using approaches which dinner those who did not have to present early the following can be translated to the study of other cultural artefacts morning (and even some of those who did) proceeded to including literature and film. It will review some of the so- various popular music performances in the city including: cial and discursive contexts in which popular music is Interférence Sardine, an experimental rock band, Iliad, a pro- experienced and analysed, looking at such questions as: gressive rock band, and Les Jardiniers, techno DJ s. The following morning speakers from as far as England, Scot- · Where does music fit into the broader production and land and Washington presented papers. The day opened with consumption of culture? a lively discussion of methodology and the role of the aca- · What are the politics enfolding popular music, mani- demic, highlighting ethnographic research. Andy Bennett, fested in discursive and technological mediations, and Mark Percival, Melissa West and Charity Marsh presented typologies such as ‘Ethnic Music’, ‘Folk’, ‘World Mu- papers exploring issues of ethnographic research in popular music. Andy Bennett began by explaining how books consid- sic’, and ‘high’ and ‘low’ culture ? ered to be pivotal in the study of popular music such as Dick · How does music function in collaboration with other Hebdige's Subculture, Paul Willis' Profane Culture and Sarah mass media such as television, film, video, and how Thornton's Club Culture actually lack detailed ethnographic can that function be studied? accounts of their areas of study. Mark Percival discussed his The emphasis is on popular music as cultural practice and experience of straddling the lines of academia as a professor, process, and no musicological knowledge is required. The and radio as a DJ suggesting that academics do not need to be so defensive and apologetic when writing about their meth- course will examine particular case studies using exam- odology. Rather, academics should embrace value judge- ples from different periods in the twentieth century, differ- ments and personal experience in their research. Melissa ent music genres, and different music delivery systems West and Charity Marsh explored their experiences of being including sound recordings, television, video and film. labeled "fans" when presenting their research on Madonna 2. A Social History of Australian Jazz and and Björk at various conferences. The panel, the papers, and the discussions raised in the question period were so compel- Popular Music ling that they inspired a possible theme for next year's confer- This subject traces the history of jazz and popular music in ence in London at the University of Western Ontario. Stimulat- relation to the Australian cultural context, including its ing discussions on rock cultures ranging from punk, post-rock, connection with the other arts and the changing socio- folk and psychedelia, as well as player hip hop and rave sub- economic climate. There is discussion of the relevance of cultures followed. Subsequent to a speedy annual general early forms of Australian feminism, and the intellectual 11 avant-garde as manifested in literary modernism. Refer- ence is also made to parallel developments in American jazz. The course is primarily empirical - what happened in Australian popular music. Although it will refer to larger issues of cultural theory, this subject will be taken up in more detail in a complementary course planned for intro- duction in 1999 on the theories and methodologies of the study of popular culture and popular music. 3. Austral. Popular Music in the 20th Century Popular music is understood in a broad sense which goes well beyond rock/pop and its derivatives. Although the term is contentious, the working definition will broadly treat popular music as anything which is not high art (‘classical’) music, though even this distinction will become blurred as communications technologies change the nature of ac- cess to music. The course will introduce students to major Real Wild Child … developments in Australian popular music, taking as the … is a multimedia ride through Australian rock history, starting point the arrival and spread of its major medium, inspired by Sydney Powerhouse Museum’s 1997 Real wild the sound recording. By looking at a succession of specific child! Exhibition. Through quirky and irreverent gags and case studies, from silent film to video clips, it will consider games Real wild child! draws in to explore the music, the way in which the history of our popular music in the social rituals and popular culture of the last 40 years. twentieth century has intersected with developments in Details: http://www.phm.gov.au/publish/ technology, including the microphone, radio, film, television and the video clip. It will also enquire into how our popular music has registered cultural shifts including feminism, a reorientation from the UK to the US, and more recently the rise of indigenous and multicultural issues. The approach will be cultural rather than musicological, and no formal knowledge of music will be required. 4. Highbrow/Lowbrow: Culture and Politics Which is better: Pride and Prejudice or Mills and Boon? a string quartet playing Beethoven or a Beatles tribute band? This course examines how ideas of cultural value POP2000 - 50 years of Popular Music have evolved, and reviews contemporary cultural studies and Youth Culture in Germany … as a background to the analysis of popular cultural forms. … was titled a twelve-piece TV series produced by public It will summarise some of the histories and theories of West-German Radio (WDR), and broadcasted in late cultural studies, including Marxism and the Frankfurt 1999 and early 2000 by all local public TV stations in School, structuralism and semiology. We shall discuss Germany. Accompanying material to the series is still some of the major issues in such studies, including how available: a book, a CD compilation, and an 8 CD Box culture is defined, the construction of notions of high and anthology. For details visit: http://www.wdr.de/tv/pop2000/ low cultural practices, the relationship between the production and consumption of culture, the politics of its MUSIIKIN SUUNTA … commodification, and the discourses of excellence. Who determines cultural value and why? What is its relation- …the quarterly journal published by the Finnish Society for ship to questions such as regional identity and national Ethnomusicology, has released a special issue in English history? What are the connections between high, popular on Music Videos. and mass culture? How has the discourse of postmodern- Details: http://www.iaspm.net/rpm/OldNew02.html ism affected the conception of culture? This is not purely a FREEMUSE… theory-based course, and will also analyse culture as social performance. The issues will be illustrated with …the World Forum on Music & Censorship has been examples which reflect the breakdown of the separation formed in Copenhagen, Denmark. Its objective is to publi- between various art-forms, and the conditions in which cize the issue of censorship as it pertains to the rights of they are experienced. This will involve discussions of the musicians. It will document abuses where and when they relationship between print, sound and music, in the con- occur and serve as a focal point to create a network of text of contemporary mass mediations. This will entail concerned musicians, individuals, organizations, institu- reference to the interchange between the sound and im- tions and media. Importantly it will also take initiatives to age, the larger soundscape, and the general sensory and organize alert actions for threatened musicians and com- cognitive context, in film, television and live performance. posers. For more information on FREEMUSE, contact Marie Korpe (+45) 20 46 65 55; email: Bruce Johnson [email protected]" School of English - University of NSW Sydney, Australia, http://www.arts.unsw.edu.au/jazz/ A Theory of One-World-Music ...... is going to be developed at University of Oldenburg in Studying Popular Music ... Northern Germany. For details of the concept visit Profes- ... intends to introduce all academic institutes and sor Dr. Wolfgang Stroh's website (text in German): departments teaching popular music. You only have http://www.uni- to write a short article, explaining your approach. oldenburg.de/~stroh/eineweltmusiklehre/stroh.html This contribution will also get published on the web: http://www.iaspm.net/iaspm/ unis.html

The Women of MP3, ...... dedicated to promoting the advancement and achieve- Finally ments of women in the music industry promise findings of all kinds of music by using their search-engine: from folk to alternative, hip-hop to metal, and everything in between. Exceptional women artists, women-fronted and all-girl The End bands are going to be spotlighted weekly in two languages: English: http://artists.mp3s.com/artists/45/ez.html, and/et Scott Barretta moved from the Department of Sociology at Français: http://francemp3.com/music/artistes.asp?N=48 Lund University, Sweden, to the University of Mississippi in Oxford, where he is the editor of Living Blues magazine. E- The Popular Music and Song Research Mail: [email protected] Project (University of Newcastle/ UK), ... Andy Bennett moved from the University of Kent to the ... a joint initiative of the French, German and Spanish and University of Surrey where he took up the post of Lecturer in Latin American Studies (SPLAS) departments of the Sociology. His new contact details are as follows: c/o Depart- School of Modern Languages (SML) and the Music de- ment of Sociology, School of Human Sciences, University of partment at Newcastle, has started a collaborative, inter- Surrey, Guildford, Surrey GU2 5XH, E-Mail: disciplinary and comparative programme of research. Go: [email protected] http://www.ncl.ac.uk/sml/POPMUSIC/singing.html Gerry Bloustien has been awarded a PhD through the De- partment of Anthropology, University of Adelaide, Australia. An online Leonard Bernstein collection... The title of her thesis was 'Striking Poses!' The subject was … to memorize the American composer, conductor, writer, an exploration into gendered identity as process in the every- and teacher Leonard Bernstein (1918-1990) has been day lives of Australian teenage girls. E-mail: established by the US Library of Congress: [email protected] http://memory.loc.gov/ammem/lbhtml/ . Georgina Born & David Hesmondhalgh recently edited a book “Western Music and its Others: Difference, Representa- Young Forum in German ASPM, ... tion and Appropriation in Music”, published by University of ... the German "Arbeitskreis Studium Populärer Musik California Press. It is available from late July on, in online (ASPM)" (the German equivalent to international IASPM, bookshops and: http://www.ucpress.edu although not identical with IASPM's German speaking Rob Bowman was nominated for a Grammy Award in the branch) has published a call to build a network of young "Album Notes" category for a 44,000 word essay he wrote to students and academics in popular music studies. To accompany a 6 CD box set, he co-produced. It is entitled THE understand what it is about, read: LAST SOUL COMPANY on Malaco Records. E-Mail: rbo- http://www.iaspm.net/rpm/ASPM-forum.html [email protected] Music and Geography, ... Kai Fikentscher's book "YOU BETTER WORK!" Under- ... this subject is covered by a newly established website. ground Dance Music in New York City (University Press of It was created by Colin McLeay, Department of Geogra- New England/Wesleyan University Press, ISBN 0-8195-6404- 4 - paperback) is expected to coming in July 2000. It tells the phy, Tauranga University College, University of Waikato, story of celebration of collective marginality through music and Tauranga, New Zealand. Colin welcomes any kind of dance at the urban crossroads of African American expressive comments, suggestions, criticisms, and praise. To visit culture and gay culture. E-Mail: [email protected] this site, go: http://www.waikato.ac.nz/geog/Cultural/Music_Geog.html Bruce Horner & Thomas Swiss recently edited a book on "Key Terms in Popular Music and Culture" (Blackwell, 1999, The Journal of Popular Music Studies, … ISBN 0-631-21264-7 paperback): a collection of essays by …the IASPM-US branch journal, has a new editorial col- leading popular music scholars on key terms in discourse on lective, consisting of Deborah Pacini Hernandez, Jeff popular music, including ideology, discourse, histories, institu- tions, politics, gender, youth, text, performance, music, popu- Melnick, Murray Forman, Rachel Rubin, and Reebee Ga- lar, form, technology, business, and scenes. E-Mail: bru- rofalo: To submit articles get in touch with Jeff Mel- [email protected] nick [[email protected]]. To submit books for review- ing, contact Rachel Rubin [[email protected]]. Ralph P. Locke (Eastman School of Music) was awarded the ASCAP-Deems Taylor Award for excellence in writing about Popular Music ... music. The article is entitled "Cutthroats and Casbah Dancers, ... announces a forthcoming special issue on Gender and Muezzins and Timeless Sands: Musical Images of the Middle Sexuality (Vol. 20, No. 3, appearing October 2001). Pa- East." And was published in "Nineteenth-Century Music" pers on any aspect of these topics related to Popular (Summer 1998). Email: [email protected] Music are welcome. The deadline for submission of com- Charlie Suhor of Montgomery, Al., has completed a book pleted papers is 31 October, 2000. 3 copies are re- called JAZZ IN NEW ORLEANS IN THE POSTWAR YEARS-- quested. For enquiries, and submissions get in touch with: 1945-1970 for the Scarecrow Press Studies in Jazz Series, Barbara Bradby, Trinity College [[email protected]] set for release early next year. E-Mail: [email protected]

"High Fidelity Project RPM (The Review of Popular Music) on Brazilian Popular Music" is the biannually Newsletter for members of the International Associa- tion for the Study of Popular Music (IASPM). Signed contributions A new source on the web: generally reflect the opinion of the author, not that of IASPM. . http://www.geocities.com/altafidelidade Editor: Heinz-Peter Katlewski (HPK), Alte Wipperfürther Str. 138 A, D-51467 Bergisch Gladbach, Germany, Phone: +49 2202 951521, Fax: +49 2202/ 951523,. E-mail: [email protected]