Made in Japan: Studies in Popular Music
Edited by Toru Mitsui (Routeledge 2014)
Introduction: Embracing the West and Creating a Blend Tōru Mitsui
Part 1. Putting Japanese Popular Music in Perspective
1. The Takarazuka Revue: Its Star System and Fans’ Support Naomi Miyamoto
2. “The Infinite Power of Song”: Uniting Japan at the 60th Annual Kōhaku Song Contest Shelley Brunt
3. The Culture of Popular Music in Occupied Japan Mamoru Tōya
4. The Birth of Enka Yūsuke Wajima
5. Songs in Triple Time Are Still Sung in Duple TimeTōru MitsuiPart 2. Rockin’ Japan
6. From Covers to Originals: “Rockabilly” in 1956-1963 Terumasa Shimizu
7. The Development of Japanese Rock: A Bourdieuan Analysis Katsuya Minamida
8. A History of Japanese Rock Festivals and Live Music Venues Jun’ichi Nagai
Part 3. Japanese Popular Music and Visual Arts
9. Tōru Takemitsu’s Seigenki: An Anti-experimental, Tonal Film Score Kyōko Koizumi
10. The Interaction Between Music and Visuals in Animated Movies: A Case Study of Akira Hideko Haguchi
11. The Emergence of Singing Voice Actors/Actresses: The Crossover Point of the Music Industry and the Animation Industry Akira YamasakiCoda: Japanese Music Reception
12. J-pop Goes the World: A New Global Fandom in the Age of Digital Media Yoshitaka Mōri
13. Maintaining Artistic Integrity and Creative Control: A Conversation with Tatsurō Yamashita Kiyoshi Matsuo and Tōru Mitsui
A Selected Bibliography on Japanese Popular Music
Notes on Contributors
Globalization and Popular Music in South Korea: Sounding Out K-Pop
by Michael Fuhr
1. Introduction: Rising K-Pop, Pursuing the Hyphen
Part I: Configuring K-Pop: Histories and Production
2. Inventing Korean Popular Music: Historical Formations and Genres (1885–2000)
3. Producing the Global Imaginary: A K-Pop Tropology Part
II: Complicating K-Pop: Flows, Asymmetries, and Transformations
4. Temporal Asymmetries: Music, Time, and the Nation-State
5. Spatial Asymmetries: Imaginary Places in the Transnational Production of K-Pop
6. Asymmetries of Mobility: Immigrant Stars and the Conjuncture of Patriotism, Anti-American Sentiment, and Cyberculture
7. Conclusion: “Oppan, Korean Style!”: An Imaginary Horse Ride around the Globe
DOWNLOAD LINK: IAPMS-2014-Program_0717
If you are looking for accommodation nearby the 2014 IAPMS Conference venue, CMU, please check out the list below. You can also find so many hotels in downtown Chiang Mai through major hotel booking services, such as Agoda.com/ Chiang Mai, or Tripadvisor.com/Chiang Mai.
Inter-asia pop has posted a new item, ‘Hotels and Hostels nearby 2014 IAPMS Conference Venue’
The hotel was listed according to their room rate which should check directly through their websites.
Kantary Hills, Chiang Mai
Address:44, 44/1-2 Nimmanhaemin Road, Soi 12, Suthep,
Muang, Chiang Mai 50200, Thailand.
Tel: +66 (0)53 22 2111, +66 (0)53 40 0877
Fax: +66 (0)53 22 3244
Amari Rincome Hotel
Address:1 Nimmanhemin Rd.T. Suthep A. Muang Chiang Mai 50200 Thailand
Telephone: +66 (0)53 894884 93, +66 (0)53 22 1915
Chiang Mai Hill Hotel
Address:18 Huai Kaew Rd. T. Suthep A. Muang Chiang Mai 50200 Thailand
Telephone: +66(0)53-210030-4, +66(0)53 21 5958
Address:54 HuayKeaw Road, Muang Chiang Mai 50300
Phone: +66(0)53 224 333
Nimmanmai Design Hotel
Address: Nimmanheamin-Sukasem Road, Suthep, Muang, Chiangmai 50200 Thailand
Tel. +66 (0)53 400 567
The Empire Residence Nimman
Address: 22/3 Nimmanhemin Road, Sutep, Muang, Chiang Mai, Thailand
Phone: +66(0)53 28 9288
Sinthana Resort Chiang Mai:
Chiang Mai University UNISERV Hostel
Call for papers
Back to the Future: Popular Music and Time
18th Biennial IASPM Conference
29 June – 3 July 2015
Universidade Estadual de Campinas
São Paulo, Brazil
*Versão em português abaixo*
*Versión en español abajo*
Whether in relation to rhythms, eras, live performances, lyrics, identities, politics, scenes, production, or changing technologies, the topic of time can be linked to popular music in a variety of ways. The compartmentalising of sounds into genres, the ageing of audiences, and the shifting sands of the music industry all invoke notions of the temporal. For the 18th Biennial IASPM Conference, we invite researchers and practitioners to submit proposals for presentations that engage with the theme of time. We encourage proposals dealing with one of the following strands:
– Ageing Times: fandom and memory; musicians’ biographies; archiving and remastering; ageing bodies; ageing technologies; recycling repertoires.
– Historical and Social Times: contextual times; local and global histories and counter-histories; fashion, retro and revival trends; timelessness; sampling and other forms of sonic genealogies, re-circulations and surrogations.
– Modern Times: new sounds; new technologies; futurism; music industry strategies; mobile media.
– Phenomenological Times: creative process; performance deployment; gesture, affect and listening experience; cross time productions, collaborations and performances.
– Structural Times: rhythm, tempo, groove, swing, beat and the various ways of conceptualizing the duration of sound; periodicity and repetition; flow and cadence; being in/out of time and sync; relationships between noise and silence(s).
There will be the options of: panels (of 3 or 4 presenters), individual papers, film/video presentations, or poster sessions.
Proposals of organized panels are strongly recommended (two-hour long sessions with four papers, or three papers and a discussant). Each session should leave at least 30 minutes for discussion or for comments by a discussant immediately following the presentations. The panel organizer should submit the panel abstract and all individual abstracts (200 words each) in one document, with a full list of participant names and email addresses. Where an independently submitted abstract appears to fit a panel, the Academic Committee may suggest the addition of a panelist.
We invite abstracts of no longer than 200 words, including five keywords for programming purposes. Individual paper presentations are 20 minutes long to be followed by 10 minutes of discussion.
Recently completed films introduced by their author and discussed by conference participants may be proposed. Submit a 200-word abstract including titles, subjects, and formats, and indicate the duration of the proposed films/videos and introduction/discussion.
A space where presenters can exhibit posters, that remain on hand for a scheduled period for discussion, will be provided. A 200-word abstract by the poster’s author, including five keywords for programming purposes, must be submitted.
Please email your abstract as a Word doc attachment to iaspm15[at]iaspm.net. Please name the file with your surname. The following format should be used:
– Name, affiliation and contact email address
– Type of presentation (select one from: panel, individual paper, film/video, poster)
– Title of presentation (and panel if applicable)
– Strand (select one from: Ageing Times / Historical and Social Times / Modern Times / Phenomenological Times / Structural Times)
– Five keywords
– Bio (80 words maximum)
Papers will be accepted in English, IASPM’s official language, and Portuguese and Spanish, IASPM Latin America’s official languages. For submissions in Portuguese and Spanish, an additional abstract in English is required, and, if selected, an English visual presentation is to be screened while presenting.
Questions about the organization of panels should be directed to the Chair of the Academic Committee, Goffredo Plastino: chair[at]iaspm.net. Suggestions for other possible events at the Conference should be directed to the Chair of the local Organizing Committee, Rafael dos Santos: rdsantos[at]unicamp.br
Each participant must be a member of IASPM:http://www.iaspm.net/how-to-join. Each participant may present only one paper at the Conference, but may also preside over a panel or serve as a discussant.
Deadline for receiving abstracts: 31 May 2014
Acceptance/rejection letters: 30 September 2014
Opening registration: 1 October 2014
Deadline for “early bird” registration (US$ 150): 1 February 2015
Program draft: 1 March 2015
Conference fee payment deadline (US$ 200): 2 April 2015
Final program: 31 May 2015