Pop–Power–Positions. Global Relations and Popular Music
3rd IASPM D-A-CH Conference
Bern, 18–20 October 2018
Registration is already closed. If you want to attend the conference, please contact firstname.lastname@example.org
Vorträge von / Presentations By
Stefanie Alisch (Bayreuth), Citra Aryandari (Yogyakarta), Verena Bons (Freiburg i.Br.), Dahlia Borsche (Berlin), Marc Brooks (Salzburg), Thade Buchborn (Freiburg i.Br.), Dietmar Elflein (Braunschweig), Ayhan Erol (Izmir), Beate Flath (Paderborn), Adam Ignacz (Budapest), Steffen Just (Berlin), Antti-Ville Kärjä (Helsinki), Arne Kellermann (Berlin), Kerstin Klenke (Vienna), Marko Kölbl (Vienna), Chen-Yu Lin (Liverpool), Martin Lücke (Berlin), Bianca Ludewig (Vienna), Chris McGuinness (New York), Sean Prieske (Berlin), Christina Richter-Ibáñez (Tübingen), Martin Ringsmut (Cologne), Melanie Schiller (Groningen), Oliver Seibt (Amsterdam), Helena Simonett (Lucerne), Darci Sprengel (Oxford), Barbara Titus(Amsterdam), Peter Tschmuck (Vienna), Chelsea Oden (Oregon), Pedro J S Vieira de Oliveira (Berlin), Dean Vuletic (Vienna), meLê yamono (Amsterdam)
Teilnahmegebühren / Conference Fee
Für folgende Teilnehmenden ist die Teilnahme an der Konferenz frei. / The conference is free for the following participants: Members of any IASPM branch, CH-EM, and students/lecturers from the University of Bern or Bern University of the Arts (HKB).
Für alle anderen Teilnehmenden gelten die folgenden Teilnahmegebühren (zu bezahlen per Rechnung/Überweisung nach der Registrierung). / For all other participants the following conference fees are valid (to be payed per invoice/wire transfer after registration).
Ganze Konferenz / Full conference: 100.00 CHF
Donnerstag, 18.10.18 / Thursday: 40.00 CHF
Freitag, 19.10.18 / Friday: 40.00 CHF
Samstag, 20.10.18 / Saturday: 30.00 CHF
Konferenzort / Conference Venue
Donnerstag / Thursday:
Bern University of the Arts (HKB), Fellerstrasse 11, 3027 Bern, Aula
Freitag/Samstag / Friday/Saturday:
University of Bern, UniS, Schanzeneckstrasse 1, 3012 Bern
Im Rahmen der Konferenz verleiht IASPM D-A-CH den Maria-Hanáček-Preis für den besten Vortrag einer Doktorandin oder eines Doktoranden. / IASPM D-A-CH will award the Maria-Hanáček-prize for the best presentation held by a doctoral student at the conference.
Local Organizing Committee
Anja Brunner, University of Bern
Hannes Liechti, Bern University of the Arts/Norient
Daniel Allenbach & Sabine Jud, Bern University of the Arts
Yves Chapuis, University of Bern
Dr. Anja Brunner, University of Bern
Dr. Thomas Burkhalter, Bern University of the Arts/Norient
Dr. Sarah Chaker, University of Music and Performing Arts, Vienna
Prof. Dr. Christoph Jacke, Paderborn University
Prof. Dr. Werner Jauk, University of Graz
Prof. Dr. Julio Mendívil, University of Vienna
Hannes Liechti, MA, Bern University of the Arts/Norient
Martin Ringsmut, MA, University of Cologne
Call for Papers
Who speaks in popular music? What kinds of power structures shape the production, distribution, and reception of popular music? What is the impact of the Anglophone music business on other music markets? Who speaks about popular music in the areas of marketing, advertising, journalism, fan cultures, (global) politics, and educational institutions – and what vocabulary do they use?
Have digitalisation and digital networks led to a democratisation of musical processes, or the contrary?
What sounds and music(s) are processed in what contexts by whom and how, and to what aim? How does the use of certain sounds/music(s) point to existing power relations, dependencies, and availability?
What role do geographies and geopolitics play in popular music-making? How do geography, world order, and power structures relate?
In what ways can popular music exist beyond cultural, ethnic, and national geographies? What role does the relation between the Global North and Global South have in popular music?
How do structures of power and distribution limit the access to the production and reception of popular music?
What relevance, usability, and impact do technologies (like Digital Audio Workstations) or legal regulations (like the copyright laws) that have been developed in Western contexts have for popular music? In what ways are (post)colonial structures and power relations (re)produced therein?
What kinds of representations do musicians use for their marketing? What traits are ascribed to music?
What potential does popular music hold for detecting and changing (or enforcing) colonial and postcolonial power structures?
How can postcolonial theories be made fruitful for an up-to-date understanding of popular music?
How do musicians of different forms of popular music process a „(post)colonial experience of the world” („(post)koloniales Welterleben“, Ismaiel-Wendt) in their music?
How marginalised are specific popular musics within the history of popular music?
Should or can we write a Global History of Popular Music?
In what way is the concept of popular music in itself (post)colonial?
What hierarchies, asymmetries or restraints can be found in inter-/transdisciplinary Popular Music Studies?