Séminaire Histoire sociale du rock (5e séance)

Vous trouverez ici l’enregistrement de la 5e séance du séminaire Histoire sociale du rock qui s’est tenue le 16 juin 2021 par zoom:

Thème de cette séance : Noise

  • Sarah Benhaïm (docteure en sciences sociales, EHESS/CRAL ; ATER en musicologie, université de Tours) : « (In)compétence, amateurisme et singularité dans la musique noise : être “musicien” ? ».
  • Catherine Guesde (docteure en philosophie, Hiphimo/Université Paris 1 Panthéon-Sorbonne) : « À l’écoute des ‘formes extrêmes de musique libre’ ».

https://zoom.us/rec/share/9XBCtoJHdNXDOQf3rk0vEfFN9SKmIsjYee82bn2peClJj7SwZpbz4OKVOH3Hpddp.pyrd5sAt-SC6O46O (Code secret: ^76Td8zP)

Séminaire Histoire sociale du rock (2e séance)

Pour ceux qui n’auraient pas pu assister à la seconde séance du Séminaire Histoire sociale du rock, vous pouvez la revoir sur Zoom:

21 avril 2021 : Musique et récit

Gabriel Redon (doctorant en histoire médiévale, UPEC, CRHEC) : « ‘Convicted in Life’ : une analyse comparée des adaptations de la Divine Comédie de Dante Alighieri dans la musique populaire ».

Marion Brachet (doctorante en musicologie, EHESS/Université de Laval [Québec]) : « Le récit comme prisme de lecture des musiques rock et folk : enjeux génériques et politiques (années 1960 à 1980) ».


Passcode: g@nF0Wz6


Listening Again to Popular Music as History (CfA, Deadline: Sept. 2018)

Jeffrey H. Jackson and Stanley C. Pelkey open their collection, Music and History (subtitle ‘Bridging the Disciplines’, 2005) by asking: ‘Why haven’t historians and musicologists been talking to one another?’  They suggest that at the heart of this absence is a problem of communication, concerning the distinct methods, knowledge and skills employed in both disciplines: does one need to be able to read, play or even ‘appreciate’ music for instance in order to make sense of it historically? On the other hand, do musicologists need an understanding of historiography to write histories of music? The issue for scholars in both disciplines is the status of the musical object: how to account for music as music, without losing a sense of its historical specificity. Continue reading

Serge G. An International Conference on Serge Gainsbourg (CfP, Deadline: 17 Dec. 2017)

SergeGIn 1989, a survey of French cultural taste revealed that Serge Gainsbourg was both one of the most popular singers and yet a near outcast in his native country. When he died, two years later, President Mitterrand called him “our Baudelaire, our Apollinaire”, claiming he had “elevated chanson to the level of art”. But he might just as well have acknowledged Gainsbourg as the first artist to top the British charts with a single in a foreign language. With the hindsight of almost thirty years, one thing is, in any case, certain: sampled by Beck, De La Soul, Massive Attack and Fatboy Slim, remixed by Howie B. and David Holmes, translated by Mick Harvey and covered by Iggy Pop, Donna Summer, Portishead, Madeleine Peyroux, the Pet Shop Boys and Franz Ferdinand, “the man with the cabbage head” remains the Francophone songwriter whose contribution to the international appeal of French popular music has been the most significant in the post-war era. Continue reading

Cfp/cfa: Music – Sound – Radio: Theorizing Music Radio (Copenhagen, Deadline: 15.9.16)

In a year, the Danish music and radio research project Ramund will close. To mark this, we will organize a seminar focusing mainly on the theoretical aspects of the many different relations between music and radio and the meetings between the two in music-radio. The aim of the seminar will be to publish an anthology of articles. Continue reading

Conference: Popular Music and Power (Berlin, 24./25. June 2016)

Popular Music and Power. Sonic Materiality between Cultural Studies and Music Analysis

Conference Program:

Friday, June 24

Humboldt-Universität zu Berlin, Institute of Musicology and Media Studies, Georgenstraße 47, Medientheater

11:00-11:30 AM Arrival and Greetings

11:30-11:45 AM Jens Gerrit Papenburg (Berlin): Introduction

Panel I – Relational Sonic Materialities beyond Text/Context

Chair: Sebastian Klotz (Berlin)

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Volume! Special Issue / numéro spécial “Beatles Studies”


Crédits : Matthieu Saladin 210 x 210mm – 242 p. – 19 € – ISBN 978-2-913169-40-1.

Nearly half a century after Luciano Berio praised the Beatles in his ‘Commenti al Rock’ (1967), this special issue of Volume! surveys the research carried out on the band that was, according to John Lennon, ‘more popular than Jesus’. In light of an extensive bibliography covering the first 50 years of what we now call ‘Beatles Studies’, one learns, for example, that the British Invasion originated in Paris, that Popular Music Studies began with the musicological study of popular music, that the theory of harmonic vectors can help analyze pop music or that Marshall McLuhan’s concepts shed an interesting light on albums such as Abbey Road.

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