Uploaded July 2019 | Updated September 2026, 22 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
Making Music in Iceland – Production Ethos and Music institutions
Þorbjörg Daphne Hall - Iceland Academy of the Arts & The University of Liverpool
Email: thorbjorghall@lhi.is
/// ABSTRACT
The paper seeks to examine the popular music scene in Iceland, with a focus on Reykjavík as the capital and main musical hub. Various statements have been made about the disproportionate creativity of the music life in Reykjavík in comparison to similar sized cities elsewhere in the world. The reasons for this are sometimes linked to landscape and the natural surroundings in the country whereas others explain it in terms of a national character of ‘do-it-yourself’ attitude. The musical institutions in Reykjavík and the framework in which the popular music resides are explored in order to understand the functionality of the scene. Then the production habits and collaboration mentality of the musicians are investigated in order to gain the fullest understanding of the music making. The clichés of nature and national identity are challenged and are replaced with a multi-faceted understanding of the musical culture.
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
Making Music in Iceland – Production Ethos and Music institutions
Þorbjörg Daphne Hall - Iceland Academy of the Arts & The University of Liverpool
Email: thorbjorghall@lhi.is
/// ABSTRACT
The paper seeks to examine the popular music scene in Iceland, with a focus on Reykjavík as the capital and main musical hub. Various statements have been made about the disproportionate creativity of the music life in Reykjavík in comparison to similar sized cities elsewhere in the world. The reasons for this are sometimes linked to landscape and the natural surroundings in the country whereas others explain it in terms of a national character of ‘do-it-yourself’ attitude. The musical institutions in Reykjavík and the framework in which the popular music resides are explored in order to understand the functionality of the scene. Then the production habits and collaboration mentality of the musicians are investigated in order to gain the fullest understanding of the music making. The clichés of nature and national identity are challenged and are replaced with a multi-faceted understanding of the musical culture.
