18iaspm.wordpress.com 1 2 18th Biennial IASPM Conference Contents Dear IASPM Delegates, It is with great pleasure that UNICAMP (Universidade Estadual de Campinas) will host this important academic event aimed at the study of popular music. With the subject: Back to the Future: Popular Music in Time, the Conference will gather more than 200 researchers from countries of all continents who will present and discuss works aimed at the study of sonority, styles, performances, contents, production contexts and popular music consumption. IASPM periodically carries out, since 1981 – year which was founded – regular meetings and the publication of the works contributing to the creation of a new academic field targeted to the study of this medium narrative modality of syncretic and multidimensional nature, which has been consolidated along the last 150 years as component element of the contemporary culture. We hope that this Conference will represent another step in the consolidation of this field which has already achieved worldwide coverage. For the Music Department of the Arts Institute of UNICAMP, to carry out the 18th Conference brings special importance as it created the first Graduation Course in Popular Music of Brazil, in 1989, making this University a reference institution in these studies. UNICAMP is located in the District of Barão Geraldo, in the city of Campinas – SP. This region showed great development at the end of XIX century and beginning of XX century due to the coffee farming expansion. Nowadays it presents itself as an industrial high-tech center. Its cultural life is intense, being music one of the most relevant activities. With a good hotel complex, numerous cultural facilities and a wide service structure, Campinas welcomes its visitors. We hope you will enjoy the programme of this event as well as your staying in Campinas. Rafael dos Santos Conference Coordinator 18iaspm.wordpress.com 3 Committees Academic Committee / Comitê Acadêmico / Comité Académico Goffredo Plastino - Chair / Presidente (Newcastle University,Italy/UK) Owen Chapman,(Concordia University, Canada) Sue Miller, (Anglia Ruskin University, UK) Ed Montano,(RMIT University, Australia) Lutgard Mutsaers, (Utrecht University, Netherlands) Catherine Rudent, (IREMUS, France) Oliver Seibt, (Institut für Musikwissenschaft, Germany) Jennifer Lynn Stoever-Ackerman (Binghamton University, USA) Támas Tófalvy, (Budapest University of Technology and Economics, Hungary) Martha Ulhôa, (UNIRIO, Brazil) Haekyung Um (University of Liverpool, UK) Organizing Committee / Comitê Organizador / Comité Organizador Rafael dos Santos - Chair / Presidente (UNICAMP, Brasil) Evandro Marques (UNICAMP, Brasil) Julio Mendívil, (Stiftung Universität Hildesheim, Germany) Andreia Cristina Oliveira Ribeiro (UNICAMP, Brasil) Eduardo Paiva (UNICAMP, Brasil) Esdras Rodrigues (UNICAMP, Brasil) José Roberto Zan (UNICAMP, Brasil) Leandro Barsalini (UNICAMP, Brasil) IASPM Executive Committee 2013-2015 / Diretoria da IASPM 2013-2015 Chair: Goffredo Plastino (Italy/UK) General Secretary: Sue Miller (UK) Membership Secretary: Alejandro L. Madrid (US) Treasurer: Laura Francisca Jordán González (Canada/Chile) Web/Publications: Ed Montano (Australia-New Zealand) Member-at-large: Martha Ulhôa (Brazil) Member-at-large: Sara Jansson (Sweden) Sponsors 4 18th Biennial IASPM Conference Conference Programme Panels and Abstracts p. 08 Tuesday, June 30 p. 08 Wednesday, July 01 p. 55 Thursday, July 02 p. 99 Friday, July 03 p. 113 Participants p. 150 FAQ (Frequently Answered Questions) p. 154 Ageing Times fandom and memory; musicians’ biographies; archiving and remastering; ageing bodies; ageing technologies; recycling repertoires Historical and Social Times contextual times; local and global histories and counter-histories; fashion, retro and revival trends; timelessness; sampling and other forms of sonic genealogies, re-circulations and surrogations Modern Times new sounds; new technologies; futurism; music industry strategies; mobile media Phenomenological Times creative process; performance deployment; gesture, affect and listening experience; cross time productions, collaborations and performances Structural Times rhythm, tempo, groove, swing, beat and the various ways of conceptualizing the duration of sound; periodicity and repetition; flow and cadence; being in/out of time and sync; relationships between noise and silence(s) 18iaspm.wordpress.com 5 Tuesday, 06/30 Wednesday, 07/01 6 18th Biennial IASPM Conference Thursday, 07/02 Friday, 07/03 18iaspm.wordpress.com 7 Panels and Abstracts Tuesday, June 30 8 18th Biennial IASPM Conference 29/06 - Monday 09:00 - 13:00 - REGISTRATION – IA Building 13:00 – 15:00 - LUNCH 15:00 – 17:00 - OPENING LECTURE – IA Auditorium 30/06 - Tuesday 09:00 - 10:40 Session A1 – AGEING TIMES – Room 1 Memories and Narratives in Popular Music Participants Gabriel Solis (chair) (University of Illinois, USA) [email protected] Alan Williams (University of Massachusetts, USA) [email protected] Adam Behr (Edinburgh University, UK) [email protected] Leonieke Bolderman (Erasmus University Rotterdam, Netherlands) [email protected] A1.1 Panel Panel abstract Creativity in popular music—and the innovative, even revolutionary power of that creativity—is routinely understood as a function of youth, a point made intensely and succinctly in the Who’s “My Generation.” This privileging of the young has dominated the scholarly conversation, despite the fact that it is paradigmatic of only a small, but prominent slice of pop music cultures in the post-war era. Drawing on affect theory, critical age theory, and musical close reading, the papers in this panel offer case studies that look at rock, pop, and hip hop artists and audiences who did not burn out, asking how aging can be viewed as a critical, aesthetic, and cultural phenomenon in the music. Routinely this manifests as the problem of fading away—the specter of irrelevance in an art that continues to draw its primary audience from the young—but significantly it may also be a source of value. As Pete Townshend’s generation—and the following generation, for that matter—age, they have pushed the aesthetic envelope, occupied new spaces in the changing music industry, and expressed the sentiments and politics of an increasingly integenerational fan base. Abstracts 09:00 Bad as Me: Narrative Age, Chronological Age, and Tom Waits as Reluctant Boomer Gabriel Solis (University of Illinois, USA) Over more than four decades, Tom Waits has gone from ironic twenty-something lounge act to sincere sixty-something punk. Throughout this work Waits has derived considerable aesthetic value and distinction from writing songs from the perspective of, and performing in the voice of old men. This presentation explores the place of narrative age in Waits’s 18iaspm.wordpress.com 9 songs throughout his oeuvre, in relation to his own chronological age, with a particular focus on his first album,Closing Time (1973) and his most recent, Bad as Me (2011). I argue that Waits’s use of lyrics and sound to inhabit different aging male personas is critical to understanding him as an artist in relation to his Baby Boomer cohort. My argument follows Leppert and Lipsitz’s work on the embodied experience of age in popular music (1990). Drawing on critical affect theory I propose that Waits’s performance of premature old age in the 1970s placed him significantly at odds with his Boomer peers, staging melancholy and not celebrating youth. Over time, even as his music has remained “alternative,” his later embrace of harder rock sounds and his production of a nostalgic, retrospective, even memoirist album has brought him closer to the dominant affect of his generation as they have moved into middle age. 09:20 Living Nostalgia: Pete Townshend and the “My Generation” Gap Alan Williams (University of Massachusetts, USA) Pete Townshend was 20 years old when he penned the phrase that would haunt him for the rest of his life – “Hope I die before I get old.” “My Generation” released in 1965, drew a line in the sand, an anthemic statement of purpose, a UK hit single, and a paradoxical indication that its author was already living in the past. A self-conscious nostalgia permeates much of his following work – from the holiday camps of Tommy, the punk meeting godfather of Quadrophenia, and the desperately aging narrator of Empty Glass and Cowboy Eyes, to the re-workings of past glories – Psychoderelict resuscitating Lifehouse, numerous re-stagings of Tommy and Quadrophenia, a seemingly endless series of farewell tours and reunion events. But while Townshend laments the loss of relevance, his largest audience is quite content to laud “Baba O’Reilly” and “Pinball Wizard,” songs that are old enough to have grandkids of their own. This paper analyzes how nostalgia is the central theme of Townshend’s work, while an alternative nostalgia for the emergence of arena rock in the early 70s defines the Who for its audience, longing to be fooled over and over again. A1.2. Individual Presentations 09:40 Didn’t die before they got old: Rock performance and ageing Adam Behr (Edinburgh University, UK) ‘Rock’ is no longer the preserve of the young nor even, as Baby Boomers shift into retirement, the middle aged. But what distinguishes it from its predecessors is its inception as specifically ‘youth’ music. This paper discusses the strategies of ‘heritage’ acts in a field whose discourses of authenticity refer to youth, competing not only against younger acts but the music and images of their