Uploaded July 2019 | Updated September 2026, 1 day ago
crosstowntraffic2018.wordpress.com
This presentation took place as part of the conference Crosstown Traffic: Popular Music Theory and Practice, which was hosted by The University of Huddersfield from September 3 - 5 2018. This event combined the IASPM UK&Ireland Biennial Conference, the 13th Art of Record Production Conference (ARP), an ISMMS conference, and the additional participation of Dancecult.
A recurrent theme within popular music studies has been discussion of how the field can integrate different disciplines and professions, for example exploring both music and its context; involving both practitioners and researchers; and encouraging interdisciplinary and collaborative work. Many different issues make such approaches challenging, and various different popular music focused subject organisations have developed somewhat independently of one another. This conference brought four such groups together, to exchange knowledge, collaborate, and encourage crosstalk.
/// SUPPORT
Popular Music Studies Research Group (PMSRG), University of Huddersfield research.hud.ac.uk/pmsrg/#
Centre for Music, Culture and Identity (CMCI), University of Huddersfield
research.hud.ac.uk/institutes-centres/cmci
The International Association for the Study of Popular Music UK and Ireland Branch (IASPM UK & Ireland)
iaspm.org.uk
Association for the Study of the Art of Record Production (ASARP)
artofrecordproduction.com
Dancecult Research Network (DRN) studies into electronic dance music culture
dancecult-research.net
International Society for Metal Music Studies (ISMMS)
metalstudies.org
/// ORGANIZERS
IASPM UK&I: Rupert Till
ARP: Katia Isakoff, Shara Rambarran
ISMMS: Karl Spracklen
Dancecult: Graham St. John
University of Huddersfield: Jan Herbst, Austin Moore, Lisa Colton, Toby Martin, Catherine Haworth, Mark Mynett
/// CREDITS
This online project was edited, collated, and made available online by Chris McConnell, Jack Zissell, and Colin Frank.
/// PRESENTATION DETAILS
Wild Pop: a panel
Craig Pollard, Dr William Edmondes and Dr Charlie Bramley – Newcastle University
Email: craigxpollard@gmail.com
/// ABSTRACT
This panel presentation emerges from a timely recognition that the majority of commercial, popular music exists (increasingly) outside and beyond conventional notated paradigms, in a way that has yet to be sufficiently embraced or absorbed by academic music research, pedagogy or the wider community. By looking beyond musical paradigms derived from the European classical tradition – which academic research and pedagogy are often disinclined to relinquish – the panel will pursue an alternative language (or critical framework) that locates listening, spontaneity and intuitive decision making as core dynamics within contemporary popular music practice(s). Such dynamics might be heard within releases by Klein or Babyfather, the production and beat making of Metro Boomin or Mike WiLL Made-It, or the hyper pop of PC Music or Charli XCX. 1 And, in making this claim – towards listening, spontaneity and intuitive decision making – the panel attempts to trace a lineage of music making which pays critical attention to the importance of African diasporic musical forms and DJ culture (particularly post-Mancuso). The presentation will suggest that as these practices have found their way into some of the most commercial spaces of popular culture, they might be understood to have also (covertly) disseminated an array of latent creative potentials which, in turn, provide threads for active and engaged audiences to begin piecing together alternate models for music making and sharing.
crosstowntraffic2018.wordpress.com
This presentation took place as part of the conference Crosstown Traffic: Popular Music Theory and Practice, which was hosted by The University of Huddersfield from September 3 - 5 2018. This event combined the IASPM UK&Ireland Biennial Conference, the 13th Art of Record Production Conference (ARP), an ISMMS conference, and the additional participation of Dancecult.
A recurrent theme within popular music studies has been discussion of how the field can integrate different disciplines and professions, for example exploring both music and its context; involving both practitioners and researchers; and encouraging interdisciplinary and collaborative work. Many different issues make such approaches challenging, and various different popular music focused subject organisations have developed somewhat independently of one another. This conference brought four such groups together, to exchange knowledge, collaborate, and encourage crosstalk.
/// SUPPORT
Popular Music Studies Research Group (PMSRG), University of Huddersfield research.hud.ac.uk/pmsrg/#
Centre for Music, Culture and Identity (CMCI), University of Huddersfield
research.hud.ac.uk/institutes-centres/cmci
The International Association for the Study of Popular Music UK and Ireland Branch (IASPM UK & Ireland)
iaspm.org.uk
Association for the Study of the Art of Record Production (ASARP)
artofrecordproduction.com
Dancecult Research Network (DRN) studies into electronic dance music culture
dancecult-research.net
International Society for Metal Music Studies (ISMMS)
metalstudies.org
/// ORGANIZERS
IASPM UK&I: Rupert Till
ARP: Katia Isakoff, Shara Rambarran
ISMMS: Karl Spracklen
Dancecult: Graham St. John
University of Huddersfield: Jan Herbst, Austin Moore, Lisa Colton, Toby Martin, Catherine Haworth, Mark Mynett
/// CREDITS
This online project was edited, collated, and made available online by Chris McConnell, Jack Zissell, and Colin Frank.
/// PRESENTATION DETAILS
Wild Pop: a panel
Craig Pollard, Dr William Edmondes and Dr Charlie Bramley – Newcastle University
Email: craigxpollard@gmail.com
/// ABSTRACT
This panel presentation emerges from a timely recognition that the majority of commercial, popular music exists (increasingly) outside and beyond conventional notated paradigms, in a way that has yet to be sufficiently embraced or absorbed by academic music research, pedagogy or the wider community. By looking beyond musical paradigms derived from the European classical tradition – which academic research and pedagogy are often disinclined to relinquish – the panel will pursue an alternative language (or critical framework) that locates listening, spontaneity and intuitive decision making as core dynamics within contemporary popular music practice(s). Such dynamics might be heard within releases by Klein or Babyfather, the production and beat making of Metro Boomin or Mike WiLL Made-It, or the hyper pop of PC Music or Charli XCX. 1 And, in making this claim – towards listening, spontaneity and intuitive decision making – the panel attempts to trace a lineage of music making which pays critical attention to the importance of African diasporic musical forms and DJ culture (particularly post-Mancuso). The presentation will suggest that as these practices have found their way into some of the most commercial spaces of popular culture, they might be understood to have also (covertly) disseminated an array of latent creative potentials which, in turn, provide threads for active and engaged audiences to begin piecing together alternate models for music making and sharing.
