Popular Music Research Unit, Goldsmiths, University of London
Forthcoming events
All talks take place at 5pm in the Cinema on the ground floor, Richard Hoggart Building (RHB), New Cross SE14 6NW.
**Tuesday 10th February: Nina Power, University of Roehampton**
'Two Modes of Writing about Music/Sound: From the Inside to the Outside'
This talk discusses two approaches to music/sound writing. First an approach to reviewing for experimental music magazine, The Wire, and second an approach to thinking about 'found sounds.' This second approach will be discussed in terms of the political role of the recorded (often female-sounding) voices used in public spaces and the way in which these impose a sense of normality and control.
**Tuesday 24th February: Ensemble Eriu**
1 – 2pm LUNCHTIME CONCERT, Room 167 RHB
Contemporary Irish music group Ensemble Eriu visit Goldsmiths for a lunchtime concert. Ensemble Ériu is a septet, led by Jack Talty and Neil O’Loghlen, that performs arrangements of Irish traditional music rooted in the styles of West and North County Clare. The group brings together a chamber ensemble of some of Ireland’s most exciting young musicians from a range of performance backgrounds. The result is a combination of the fresh and familiar, a soundscape that is creatively progressive, yet rooted in tradition.
5pm RHB Cinema
Following its lunchtime concert, founding members of Ensemble Eriu Neil O'Loghlen and Jack Talty will be discussing their research and creative concerns. This event will be of particular interest to those concerned with Irish music; world music; ethnomusicology; musical pedagogy; music in higher education; arranging and orchestration.
**Tuesday 3rd March: Dominic McHugh, University of Sheffield**
‘Creating Harold Hill: New Sources for The Music Man’
In December 1957, Meredith Willson's The Music Man opened on Broadway and went on to run for 1,375 consecutive performances. Yet the show is often overshadowed in narratives of the genre. In this presentation, McHugh presents a selection of unpublished sources - including scripts, music and correspondence - that trace the development of The Music Man over a five-year period, shedding new light on a neglected work.
**Tuesday 10th March: Tom Perchard, Goldsmiths**
Book Launch for After Django: Making Jazz in Postwar France
Tom Perchard presents his new book. The first full-length study of jazz in postwar France, After Django explores the ways that French musicians and critics received and remade an American music according to their own cultural concerns. Tom will give an overview of the book's main themes, and play some of the remarkable music its covers.
**Tuesday 17th March: Tim Lawrence, University of East London**
'Mutant Music and the New York Dance Floor, 1980-83'
It is easy assume that the 1980-83 period was a fallow one for DJ culture and dance culture. After all, the backlash against disco peaked during the second half of 1979 and house music didn’t take root until 1984. But it was during this off-the-radar period that the New York party scene entered into a prolific period that saw DJs and musicians adopt a hybrid-mutant mode that combined elements of disco, punk, new wave, funk, dub and rap. What were the conditions that enabled these innovations to take place and what is their legacy?
**Tuesday 24th March: Freya Jarman, University of Liverpool**
‘Voice, Affect, and Ideology at Christmas, or, What I was Left Pondering when my Figgy Pudding had Settled’
Amongst the many ideological impulses in which music played a role in nineteenth century England were those surrounding the family and the construction of childhood, particularly within the context of Christianity. Jarman is interested in situating these ideologies in contemporary culture and the affective frames around Christian music, and understanding how both congregational and ‘angelic’ vocalities undertake their cultural work.
**We are also convening a POPULAR MUSIC RESEARCH SYMPOSIUM**
Copy / CTRL
Friday 8th May 2015, 10.30 to 5.30 in Room 309, Richard Hoggart Building.
Musicians have always copied from other musicians. Beethoven copied (and modified) passages from Mozart; John Lennon copied (and modified) passages from Chuck Berry. Beethoven didn’t get hit with lawsuits, but Lennon did: even if he participated in a long history of musical creativity based on sharing and borrowing, the Beatle was caught at a place and time in which intellectual property had become legally enshrined and protected.
Systems of copyright are recent, and notions of originality are in flux. Still copying has often come to be seen in negative terms: as a mark of laziness or failure, as inauthentic or exploitative. Yet there are many kinds of copying, and musicians have used pastiche, allusion and sampling techniques not just to get going or to get on, but also to make inventive and innovative music.
Meanwhile, widely accepted ideas of ownership and belonging have been thrown into confusion by the internet: in music’s production and consumption, practices of making and sharing have been transformed as new ideas around the creative commons emerge.
More than ever, popular music creativity is at odds with the imperatives of intellectual property. Working within a tradition can seem to conflict with ideas of originality; appealing to the commons can mean opposing the individuality enshrined in copyright law.
This symposium addresses the tensions between copying and copyright control, and asks what we mean by originality, creativity and invention.
Confirmed participants include
John Street
Adam Behr
Ananay Aguilar
Tom Farncombe
Vicki Bennett, People Like Us
Ian Gardiner
For further details about the Popular Music Research Unit: http://www.gold.ac.uk/pmru/
If you are interested in our MA in Popular Music Research: http://www.gold.ac.uk/pg/ma-music-popular-music-research/
For directions: http://www.gold.ac.uk/find-us/
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