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
Performing Diversity: The Performing Subject and Popular Music
Dr. Magdalena Fuernkranz – Institute for Popular Music, mdw – University of Music and Performing Arts Vienna
Email: fuernkranz@mdw.ac.at
/// ABSTRACT
Popular music transcends the field of sound. Performative aspects such as staging a live performance, acting on stage, construction of the performance persona (Auslander 2004) or star personality (Frith 1996), audience participation, but also socio-cultural developments, contribute to the overall concept of a performance in pop music. New methodological perspectives have been developed in current popular music studies that have linked historical, structuralist or phenomenological paradigms with the discourse of performativity. The interdisciplinary research project Performing Diversity dealt with the performing subject in popular music, performativity, and rituals of music performance. To this end, qualitative case studies were used to explore distinctions and diffusions between the musical style fields of “Classical / Contemporary music”, “Jazz / Improvised music”, “Folk music / World music”, “Dance / HipHop / Electronic music”, “Rock & Pop” and “Schlager / Folkloristic music”. The poster will deal with the analysis of performance, which is understood as part of contemporary popular music practice. Performing Diversity’s focus is on crossover phenomena in today’s musical landscape, with analysis being devoted to musical and cultural spaces-in-between where new things can come about. The documentation and analysis of performance rituals was done with reference to images and sequences (music videos and live documentations). The sample was comprised of Austrian musical, pictorial, and filmic creations from between 2010 and 2015. The main objective is to discern — based on analysis of the figures (Eder 2008) that appear in the theatrical setting of a popular music performance — how the “constitution of culture” takes place.
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
Performing Diversity: The Performing Subject and Popular Music
Dr. Magdalena Fuernkranz – Institute for Popular Music, mdw – University of Music and Performing Arts Vienna
Email: fuernkranz@mdw.ac.at
/// ABSTRACT
Popular music transcends the field of sound. Performative aspects such as staging a live performance, acting on stage, construction of the performance persona (Auslander 2004) or star personality (Frith 1996), audience participation, but also socio-cultural developments, contribute to the overall concept of a performance in pop music. New methodological perspectives have been developed in current popular music studies that have linked historical, structuralist or phenomenological paradigms with the discourse of performativity. The interdisciplinary research project Performing Diversity dealt with the performing subject in popular music, performativity, and rituals of music performance. To this end, qualitative case studies were used to explore distinctions and diffusions between the musical style fields of “Classical / Contemporary music”, “Jazz / Improvised music”, “Folk music / World music”, “Dance / HipHop / Electronic music”, “Rock & Pop” and “Schlager / Folkloristic music”. The poster will deal with the analysis of performance, which is understood as part of contemporary popular music practice. Performing Diversity’s focus is on crossover phenomena in today’s musical landscape, with analysis being devoted to musical and cultural spaces-in-between where new things can come about. The documentation and analysis of performance rituals was done with reference to images and sequences (music videos and live documentations). The sample was comprised of Austrian musical, pictorial, and filmic creations from between 2010 and 2015. The main objective is to discern — based on analysis of the figures (Eder 2008) that appear in the theatrical setting of a popular music performance — how the “constitution of culture” takes place.
