IASPM Journal

IASPM Journal is the peer-reviewed open-access e-journal of the International Association for the Study of Popular Music (IASPM) –– its members are invited to register and publish. Click here for a copy of the CFP (in several languages) and Style Guide.



Update: Vol 10, No 2 (2020) Open Issue

This issue consists of four articles and five book reviews. Kai Arne Hansen discusses children's involvement in debates about climate change through music and music videos in Norway. Luiz Costa-Lima Neto analyzes the music and musical inspirations of Hermeto Pascoal, alongside his coined term "Som da Aura." Benjamin Hillier and Ash Barnes unpack the right-wing ideologies of Australian black metal bands, Spear of Longinus and Deströyer 666, covering the texts, paratexts, rationale of artists, and fan engagement. Sergio Mazzanti analyzes the output of the Russian rock band, DDT, and discusses the use of self-quotation by the bandleader to understand Russian history and his own life.

There are also reviews by Monika Schoop, Antti-Ville Karja, Settimio Palermo, Mark Pedelty and Sergio Pisfil of new books about popular music in a Philippine prison video, cultural mapping and musical diversity, the politics of hope, the political ecology of music, and rap music and audiences.

Click here to access this issue.
Posted: 2020-12-10

Special CFP: Dance and Protest (2022)

Special Issue Editors:
Serouj Aprahamian, Shamell Bell, Rachael Gunn, and MiRi Park

The recent succession of protests and uprisings following the murder of George Floyd at the hands of (now former) Minneapolis police officers overwhelmingly included dance as a protest tactic. While dancers have long engaged in cultural acts of resistance, this iteration in the #blacklivesmatter movement stemmed directly from the efforts of dancers/activists who participated in the protests following the deaths of Trayvon Martin, Ezell Ford, and Michael Brown. Dancer/activist/scholar/mother Shamell Bell deemed "Street Dance Activism" as a protest tool to celebrate Black Joy in the face of Black death, and renowned dance scholar Brenda Dixon-Gottschild has noted how such actions have gained increasing visibility over the last decade.

Internationally, we have also seen the rise of dance actions such as the Māori haka performed in honor of and in solidarity with the victims of the Aotearoa/New Zealand mosque attacks, traditional Kurdish folk forms performed in protest over Turkish cultural repression, Chilean flash mobs mobilized against patriarchy and sexual violence, and the return of Hong Kong’s pro-democracy umbrella movement as a massive choreography of protest. Whether evoking emotions of pain and frustration or joy and exaltation, such displays link people together in a common cause, and draw attention to global struggles for political and social change. What’s more, the soundtrack of the protests, such as folk songs, African drumming, chants, anthems, and popular music, situates these actions within larger histories of rebellion and resistance.

This Special Issue of the IASPM Journal aims to gather a broad range of scholarly and artistic perspectives on the topic of dance and protest, and the ways in which they interrelate, overlap, intertwine, and bolster political expression. We invite submissions that assess dance in relation to historical movements for social justice and grapple with questions related to how dance and music amplify each other within the framework of protests. We invite case studies that examine how dance is used at protests to enhance a political message, facilitate a call to action, unite people in solidarity, as well as examples of viral dances used for political means. We are interested in how protests themselves can be examined as a form of performance, and the potential limitations of performance as protest, especially when not linked to organized struggle. We encourage submissions on Indigenous experiences with dance, as well as the appropriation and commercialization of political dance and music.

Submissions may consider, but are not limited to, any of the following topics:
● The interrelationship between dance, music, and protest
● Case studies of dance and protests (including TikTok / viral dances)
● Dance as a call to action
● Indigenous dance and activism
● Protests as performance
● The policing of the dancing body
● The commercialization and appropriation of dance and cultural activism

More than a call for papers, however, this Special Issue is a CALL TO ACTION! As such, we invite two types of submissions: 1) Full articles, 2) Statements/Actions.

1) Full articles
These submissions will be between 6,000-8,000 words and subject to double-blind peer review. We encourage practice-based and practice-led research submissions.

2) Statements/Actions
These submissions are by scholars and/or practitioners (industry, education, administration, policymakers, etc.) about their dance/music activism experiences in the form of text (max. 2,000 words), audio (max. 12 minutes), or video (max. 8 minutes). The statements/actions will be subject to editorial review.
● This is a call to action, so if you would like your submission to be a part of a video collage of all submissions, please indicate this in your application. To be clear, we will select, subject to review, 1-3 video statements to be featured in full.

To be considered for this Special Issue, please submit the following by February 15, 2021:
● an abstract of 150-250 words (plus references, if necessary)
● author name(s)
● institutional affiliations
● contact details
● a brief bio of no more than 150 words (which includes the author’s positionalities in relation to their topic)

Submissions should be entered via this google form: https://forms.gle/RpcCxjBfMsB5Z1Qq8.

If your abstract is accepted, we expect to receive the full article or statement uploaded into the online submission by August 15, 2021, at https://iaspmjournal.net/index.php/IASPM_Journal/about
The issue will be published in 2022.
See the journal site for further information regarding Submissions. Click here for a Style Guide.
Posted: 2020-12-06 More...

Update: Vol 10, No 1 (2020) Open Issue

This issue consists of three articles, three branch reports and five book reviews. Rosemary Lucy Hill and Molly Megson discuss how grassroots venues and promoters can implement changes to tackle sexual violence and work towards gender equality. Pascal Rudolph analyses the presentation of Björk’s filmic character, Selma, in Dancer in the Dark in conversation with her popstar status. Paul Carr and Ben Challis examine the creative incorporation of a specific type of repetition in popular music, that of loop-based composition and improvisation.

Ruth Piquer, Bojana Radovanović and Emilia Barna provide IASPM branch reports covering the histories of popular music studies in Spain, Serbia and Hungary (respectively). There are also reviews by Bill Bruford, Jenna Doyle, Mark Duffett, Lee Marshall and Chris Anderton of new books out on the drum kit, popular music performance, The Beatles fandom, The Rolling Stones, and Henry Cow.

Click here to access this issue.
Posted: 2020-11-14

Special CFP: Crises at Work: Potentials for Change? (2021)

Special Issue Editors: Michael Ahlers and Jan Herbst

This Special Issue is motivated by, but not limited to, the current processes and effects of the COVID-19 pandemic and the global civic rights movement related to “Black Lives Matter”, which highlights systemic racism as an epidemic in many societies around the world. Only a selection of topics is shown here, which is also historically part of personal, systematic or infrastructural crises of popular music cultures. The Special Issue of the IASPM Journal aims to gather a broad range of scholarly and artistic perspectives on crises in popular music composition and production, labour, business, education, societies and cultures.

We understand crises as possible blockades of creative processes, economic threats, excessive demands on people or systems, but also as an opportunity for change. These potentials lead, for example, to changed forms of appreciation and to a renewed consideration of ecological or ethical values or to the establishment of new networks and methods for creative projects and work.

This issue is interested in, but not limited to, any of the following themes:
- Global (in)equalities and discrimination (e.g. racism, access to high-speed internet, online censorship)
- Creative crisis, resilience and wellbeing
- Crises of labour and music business
- Innovative approaches to dealing with restrictions and limitations
- Adaptations and alternative forms of commercial music industries
- Focusing after overload: technical, psychological, social, economic issues
- Value and appreciation of music professions in times of crisis
- Emerging networks, communities and collaboration (online and offline)
- Material and non-material support
- Moral and ethical aspects of change

We are looking for both scholarly contributions and expressions of opinion or relevant artistic outputs from professionals. The Special Issue also aims to provide a global perspective on support structure and hence motivates popular music scholars to provide information on their regional specifics.

This Special Issue contains two parts, 1) full articles, 2) statements.
Re 1) Full articles will be between 6,000-8,000 words and subject to double-blind peer review. We encourage practice-based and practice-led research submissions. The audio or audio-visual components must not be copyright protected and must be accompanied by a written component of 3,000 to 4,000 words that clearly describes research questions or objectives, relevant literature, the creative process and conclusions.
Re 2) Statements by scholars and practitioners (industry, education, administration, policy makers etc.) about their experiences of crisis in the form of text (max. 2,000 words), audio (max. 12 minutes) or video (max. 8 minutes). The statements will be subject to editorial review.

Abstract/proposals for full articles and statements are due by 15 August 2020, with full submissions (if accepted) expected by 1 January 2021.

To be considered for this Special Issue, please submit an abstract of 150-250 words (plus references, if necessary) by 15 August 2020; along with author name(s), institutional affiliations, contact details and a brief bio of no more than 150 words which includes the author’s positionalities in relation to their topic to: j.herbst@hud.ac.uk. Please indicate “IASPM Crises Special Issue” in the subject line.

If your abstract is accepted we expect to receive the full submission uploaded into the online submission by 1 January 2021 at https://iaspmjournal.net/index.php/IASPM_Journal/about
Music will be submitted in 320 kbps .mp3 format and stored on the IASPM journal server, videos will be uploaded to IASPM Journal’s video channel.

See the journal site for further information regarding Submissions.
Our Style Guide is available on the website.
Posted: 2020-07-08 More...

Update: Vol 9, No 2 (2019) Open Issue

Lauren Leigh Kelly and Donald C. Sawyer discuss hip hop pedagogy in mainstream schools. Yuri Prado analyzes the capitalist logic of samba schools. Emma Winston and Laurence Saywood cover a new musical genre, Lo-Fi Hip Hop, and Christopher Charles considers the significance of crews in underground dance music scenes. Melanie Schiller, Beate Flath, Akitsugu Kawamoto, Ali C. Gedik, and Levent Ergun provide IASPM branch reports. There are also book reviews by Laura Niebling, Marianne Di Benedetto and Alison C Eales on new books out on heavy metal, popular music in France and the history of live music in the UK.

Click here to access this issue.
Posted: 2019-12-23

Update: Vol 9, No 1 (2019) Pop Music Festivals and (Cultural) Policies

This issue consists of five contributions. Daniel Fredriksson presents a study on the Falun Folk Music Festival in Sweden. Heikki Uimonen discusses the relationships between live music associations and various political and cultural institutions in Finland. Stian Vestby examines the programme and audience development processes at the Norwegian Country Meeting. Peter Lell discusses how world music festivals can be seen as sites of musical education. Bianca Ludewig introduces transmedia festivals as a new type of contemporary festivals.

Click here to access this issue.
Posted: 2019-10-11
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Vol 10, No 2 (2020): Open Issue

Cover Page
Issue 10.2: Photo by Tim Marshall