Uploaded August 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
Distant Voices: Coming Home. Issues around Songwriting as Research in Justice and Re/Integration
Dr Jo Collinson Scott (Lecturer in Commercial Music, University of the West of Scotland) and Dr Phillipa Thomas (Research Associate, University of Glasgow)
/// ABSTRACT
Distant Voices: Coming Home is a three year ESRC/AHRC funded interdisciplinary practice-based collaborative action research project that aims to explore and practice re/integration after punishment through creative collaborations. The research is run through partnership between third sector organisation Vox Liminis, the Scottish Centre for Criminal Justice Research, a number of prominent Scottish popular musicians, and researchers in popular music, criminology, public dialogue and visual sociology. Blurring boundaries between creative practices, research, knowledge exchange and public engagement, the project uses collaborative songwriting to support a range of differently situated people with experience of the criminal justice system, to explore questions of justice and reintegration together through the broad theme of ‘Coming Home’.
This paper begins to explore some of the initial findings and challenges presented in the first year of this research. How can and should songs be treated when they become ‘data’ within a research project? The combination of sociological approaches to ‘coding’ with musicological analyses of resultant material throws up crucial ontological and epistemological questions. There are also important aspects of dialogue present both at the heart of the creative process (in collaboration between expert songwriters and experts-in-experience) and in the resultant application of the songs in discursive settings (e.g. performances involving prison governors, police officers, prison officers, criminologists, social workers, public policy makers, receiving communities etc.). What can such dialogue across disciplines and settings reveal about the process of collaborative research using popular song and its results?
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
Distant Voices: Coming Home. Issues around Songwriting as Research in Justice and Re/Integration
Dr Jo Collinson Scott (Lecturer in Commercial Music, University of the West of Scotland) and Dr Phillipa Thomas (Research Associate, University of Glasgow)
/// ABSTRACT
Distant Voices: Coming Home is a three year ESRC/AHRC funded interdisciplinary practice-based collaborative action research project that aims to explore and practice re/integration after punishment through creative collaborations. The research is run through partnership between third sector organisation Vox Liminis, the Scottish Centre for Criminal Justice Research, a number of prominent Scottish popular musicians, and researchers in popular music, criminology, public dialogue and visual sociology. Blurring boundaries between creative practices, research, knowledge exchange and public engagement, the project uses collaborative songwriting to support a range of differently situated people with experience of the criminal justice system, to explore questions of justice and reintegration together through the broad theme of ‘Coming Home’.
This paper begins to explore some of the initial findings and challenges presented in the first year of this research. How can and should songs be treated when they become ‘data’ within a research project? The combination of sociological approaches to ‘coding’ with musicological analyses of resultant material throws up crucial ontological and epistemological questions. There are also important aspects of dialogue present both at the heart of the creative process (in collaboration between expert songwriters and experts-in-experience) and in the resultant application of the songs in discursive settings (e.g. performances involving prison governors, police officers, prison officers, criminologists, social workers, public policy makers, receiving communities etc.). What can such dialogue across disciplines and settings reveal about the process of collaborative research using popular song and its results?
