Uploaded July 2019 | Updated September 2026, 3 hours 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
The Role of Popular Music in Communication and Identity Formation
Kaitlin Sly, University of Victoria
Email: kaitiesly@gmail.com
/// ABSTRACT
As a musician, I have performed a wide range of popular music. In my years of musical study and performance, I have been able to witness the vast impact popular music has on society. Whether it is the masses of screaming Beatles fans, or the bling, baggy pants, and explicit language of hip-‐hop listeners, it is evident that popular music has a place in shaping the way we communicate and present ourselves to the world. There are countless examples throughout history that identify the power popular music has, both at a societal and individual level. In this paper, I have outlined some of the ways that popular music impacts the way we communicate, present, and identify ourselves. I will highlight some of the more potent examples in history where popular music has had a massive impact on society and how it has helped to shape the culture we have today. I will attempt to explain why or how music impacts us the way it does, using several examples to help illustrate my points.
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
The Role of Popular Music in Communication and Identity Formation
Kaitlin Sly, University of Victoria
Email: kaitiesly@gmail.com
/// ABSTRACT
As a musician, I have performed a wide range of popular music. In my years of musical study and performance, I have been able to witness the vast impact popular music has on society. Whether it is the masses of screaming Beatles fans, or the bling, baggy pants, and explicit language of hip-‐hop listeners, it is evident that popular music has a place in shaping the way we communicate and present ourselves to the world. There are countless examples throughout history that identify the power popular music has, both at a societal and individual level. In this paper, I have outlined some of the ways that popular music impacts the way we communicate, present, and identify ourselves. I will highlight some of the more potent examples in history where popular music has had a massive impact on society and how it has helped to shape the culture we have today. I will attempt to explain why or how music impacts us the way it does, using several examples to help illustrate my points.
