Archive | Conferences RSS for this section

Sound at SCMS 2015

5006172191_777fce90d3_b

Each March one brave Sounding Out! author takes on the task of wading through the catalog of the annual conference of the Society for Cinema & Media Studies (SCMS), to produce a curated guide for scholars interested in sound and its intersection with media. For several years now, SCMS has been both widening its intellectual scope and becoming one of the primary venues for scholars working in sound, and so making sense of the rich and noisy expansion of the field in this context takes a pretty keen ear.

This year we are extremely happy that that ear belongs to Alyxandra Vesey of the University of Wisconsin, Madison. Vesey is not only a leading feminist sound theorist, a radio host, and an editor at our peer website Antenna, but she is also one of the people behind the recent special issue of Velvet Light Trap on Sound, which is sure to become a landmark in the field in years to come.

We asked her to begin with some thoughts on what this year’s offerings at the Montreal conference (held March 25 to 29) tell us about sound scholarship these days. Some food for thought for conference attendees as they contemplate the best place for an oven-warm Montreal bagel on a cold winter morning, or work up the courage to try out some rusty French in la belle province

– Special Editor Neil Verma

In a recent essay for this site, Robin James situated Dove’s #SpeakBeautiful Twitter campaign within larger histories of patriarchal conventions that moderate “women’s literal and metaphoric voices to control their participation in and affect on society, ensuring that these voices don’t disrupt a so-called harmoniously-ordered society” (2015).

That line came back to me as I began assembling a list of relevant panels, workshops, presentations, and events for sound studies scholars at this year’s SCMS Conference. Of course, the field of film and media studies has been concerned about the voice since the works of Michel Chion, Kaja Silverman, Michele Hilmes and Roland Barthes, many of whose ideas have been revived in recent years, including in a recent issue of Velvet Light Trap, which pursued the voice through a variety of contexts.

VLTBut that legacy alone can’t explain the diversity of interest in the subject at SCMS this year; Montreal’s conference might signal the year of the voice in media studies.

Wednesday’s itinerary features “Hearing Voices, Songs, and Speech.” The panel is chaired by Kyle Stevens, who will also present research on the functions of voice-over in representations of suicide and women’s sexuality. Dolores McElroy’s research on Judy Garland, Patrik Sjoberg’s exploration of documentaries’ dubbing and lip sync practices, and Liz Greene’s work on pop music’s signification of middle-aged nostalgia rounds out the proceedings. On Saturday, “The Voice in Transition” includes presentations from chair Jennifer Fleeger, Sarah Wright, Tom Whittaker, and Christine Ehrick on opera in Italian film, silent cinema, dubbing in Spanish film, and Niní Marshall’s film comedies. “Hear and There: The Politics of Sound” include two compelling presentations: Cassie Blake and Tessa Idlewine’s work on female voiceover in theatrical trailers and Allison McCracken’s discussion on auditions and essentialism on NBC’s The Voice.

Heightened interest in podcasting also appears to be symptomatic of interest in the voice. The first day of the conference includes an entire panel on the subject. Chaired by Andrew Bottomley, “Podcasting: A Decade into the Life of a ‘New’ Medium” includes presentations from Brian Fauteux on podcast aesthetics and satellite radio, Andrew Salvati on historiography in Dan Carlin’s Hardcore History, and Kelli Marshall on WTF host Marc Maron.

However, scholarly inquiry around podcasts may have as much to do with the interest in radio and the medium’s extensions online. On Thursday, Doron Galili and Gabriel Paletz will chair “A Paragon of Intermedial Adaptation: The War of the Worlds in Radio, Film, and Social Media,” exploring the program’s long afterlife alongside a co-authored paper by Neil Verma and Jennifer Stoever and respondent Timothy Corrigan. This event occurs simultaneously with a workshop on radio production cultures chaired by Bottomley and featuring participants Shawn VanCour, Tom McCourt, and David Uskovich. Friday afternoon winds down with a workshop chaired by Jason Loviglio entitled “The Problem of the Radio Canon” that includes Debra Rae Cohen, Bill Kirkpatrick, Kate Lacey, and Elena Razlogova. And on Saturday Jennifer Wang will chair “Fringe Time: Gender and Crossover Programming in the U.S. Radio-TV Transition” with presentations on soap opera’s transitional moment, ethnicity and diet-oriented programming, and discourses around liveness in wrestling from Elana Levine, Jennifer Lynn Jones, and Kate Newbold.

Saturday’s radio studies panels also touch on three other areas of interest for sound studies scholars: technological affordances, historical interventions, and identity politics. To that first point, Wednesday includes Tim Anderson’s presentation on musicians and the professional economies of social networking and Andrew deWaard’s discussion on big data’s influence over ownership in the recording industries. Saturday evening’s “Stream Engines: Streaming Services and Media Distribution” promises to deliver some compelling original research as well. Jeremy Morris and panel chair Devon Powers will co-present a paper on curation and digital music services. Eric Harvey will explore how streaming services become sites of commerce, an extension of his and Maura Johnston’s “Loose Change” series for Pitchfork.

In terms of historiography, Wednesday’s “Music Screens, Music Stars, Music Scenes” is at the top of my list. Chaired by Charlotte Howell, who will also present original research on Atlanta’s public access program The American Show, the panel includes Kristen Alfaro’s work on the Fales Library’s nightclubbing collection, Matt Stahl’s research on royalty reform for R&B artists in the mid-1980s, and Brad Stiffler’s study on TV Party and cable access in the 1970s.

Saturday afternoon includes “Historicizing Music and Transmedia” with presentations from Kyle Barnett, Kevin John Bozelka, chair Landon Palmer, and myself on Jazz Age-era media convergence, post-war publishing and recording practices, The Beatles’ relationship with United Artists, and playlist production as extensions of feminist activism. During that time, Morgan Sea of Tranzister Radio will also participate in a panel with Alexandra Juhasz on trans women’s AIDS media activism. If I could be at two places at once, I would.

scms1

This brings us back to questions of identity and how sound signifies larger representational strategies. On Thursday, Jack Curtis Dubowsky chairs “Sound Tracks,” which features presentations from Monique Bourdage, Carl Laamanen, and Rembert Hueser about gender and taste on Playboy after Dark, Her and acousmêtre, the music of La Chinoise, and queer musical signification. I’m also looking forward to seeing Ryan Powell’s presentation on “Queer Aurality in Seventies Gay Art Porn.” Thursday’s panels conclude with “Screening Instability: Genders, Genres, and Soundscapes of Cinematic Modernization in 1960s Mexico,” which includes Brian L. Price’s work on rock ‘n’ roll films in the country, chair Francisco Flores-Cuante’s analysis of masculinities in Viento Negro, and Carolyn Fornoff’s discussions on musical interludes. And on Friday, I plan to attend “She Bop on Screen: Girls, Popular Music, and Visual Media” with original research from Mary Kearney, Norma Coates, Morgan Blue, and Diane Pecknold on the gendering of post-war teen media, the Disney Channel and pop girlhood, and tween pop in the public sphere.

Finally, there are a number of special events for sound scholars to enjoy. Those interested in sound’s immersive potential should take time out on Friday night to visit the Satosphere Dome, which harnesses the potential of 360-degree screen projections, complex speaker system, and environmental sound to place visitors within a large-scale work of art.  The official meeting of the Sound Studies Special Interest group (SSSIG) is Wednesday, 3/25, from 2-3:45pm in Les Voyageurs, Lobby Level.  The official meeting of the Radio Studies Scholarly Interest Group (RSSIG) will be Saturday, 3/28, from 9:00-10:45 pm, in Les Voyageurs 2, Lobby Level.  In addition to SIG business, the RSSIG will also share an update from the Radio Preservation Task Force and will host award-Winning WireTap producer Mira Burt-Wintonick, who will present ideas on storytelling and sound design in the golden age of podcasting. How do you make your stories stand out in a sea of audio content? What’s different about producing for radio vs. podcasts? How do you create a signature sound? Part listening party, part discussion, this session aims to explore a variety of new sonic trends and possibilities in radio production.

mtBut considerations for the voice also lead us to listen for silences and absences. In that regard, I’m reminded of Neil Verma’s desire “to see future presenters using sound in innovative ways to think about objects and events well outside the perimeter of sound studies, drawing experimental modes of listening in to the conference experience and challenging how scholarship itself is fashioned and displayed” at the end of his “Sound at SCMS 2013” post. This appeal brings to mind Pauline Oliveros’ concept of deep listening, which describes how the music heard in a live or recorded context cannot be reduced to composition without critical attention toward the intersection of producers, listeners, and their shared environment (Rodgers 2010). Such interests seem to influence certain panels’ and participants’ work, particularly “Historicizing Technical Standards and Practices in Film Sound,” “Sounding the Interactive Documentary: Non-fiction, New Media, and the Problem of Immersion,” and James Deaville’s “Music and Sound in Film Trailers: A Preliminary Ethnographic Study of Producers and Consumers.”

Yet I wonder how we could harness sound as a resource for developing pre-existing scholarly approaches and fields. How might we “use sound” in production and industry studies research not only of radio, but in scholarship around other areas and sectors where the image still has primacy? What can sound teach us about precarity and other bedrock concepts within those discourses?

Furthermore, how can we “use sound” as a political intervention? As a field, we know how to analyze sound for the purposes of academic critique. But sound’s relationship to activism is underrepresented at this conference. I’m heartened by Morgan Sea and Jonathan Sterne’s participation in workshops on trans women’s media activism and disability studies. But I want consideration for how to use sound as resources to challenge institutions and ideologies that advance the violent force of intersectional discrimination, civil rights violations, widening class division, surveillance, eroding labor rights, and geopolitical conflict.

In addition, how can we “use sound” to teach? Wednesday concludes with “Participatory Pedagogy” a workshop and networking event about issues related to teaching gender and media. How can we use sound not only to enter into discussions amongst ourselves, but as a resource in the classroom?

Nick Couldry argues that the role of the voice hinges upon the cultural and political value assigned to it, which “involves particular conditions under which voice as a process is effective, and how broader forms of organization may subtly undermine or devalue voice as a process” (2). A number of presentations, panels, and workshops take up the voice as a resource for inquiry. Others will be raising them to ask questions of sound, music, and aurality’s influence in shaping media technologies, texts, representational strategies, and reception practices. And, as always, there are silences and absences we must recognize and address.

Let’s listen. Let’s raise our voices as well.

Alyxandra Vesey is a feminist media scholar who uses industry and production studies approaches to explore the relationship(s) between gender, labor, and music. Her dissertation analyzes identity and music-based intermediary practices in post-network television. Her work has appeared in Antenna, Flow, In Media Res, The Moving Image, Cinema Journal, Studies in French Cinema, and Saturday Night Live and American TV. She is also an editor for Antenna and The Velvet Light Trap. As an extension of her scholarship, she is also a contributor to Bitch Magazine, a volunteer for Girls Rock Camp Madison, and the host of WSUM 91.7 FM’s “Feminist Music Geek Presents…”

Featured image: “Feux d’artifice au port du vieux Montréal” by Flickr user Emmanuel Huybrechts, CC BY 2.0

"Queen Elizabeth" by Flickr user Robert Anthony Provost, CC BY 2.0

“Queen Elizabeth” by Flickr user Robert Anthony Provost, CC BY 2.0

Jump to WEDNESDAY, MARCH 25, 2015
Jump to THURSDAY, MARCH 26, 2015
Jump to FRIDAY, MARCH 27, 2015
Jump to SATURDAY, MARCH 28, 2015
Jump to SUNDAY, MARCH 29, 2015

WEDNESDAY, March 25

Session A 10 – 11:45 a.m.

A11. Sound and Music
Chair: Michael Baumgartner, CLEVELAND STATE UNIVERSITY
Ian Kennedy, WAYNE STATE UNIVERSITY, “Visual Music and the Enactive Theory of Musical Perception”
Mark Durrand, SUNY-UNIVERSITY AT BUFFALO, “On Seeing and Hearing in Sergio Leone’s Once Upon a Time in the West (1969)”
Summer Kim Lee, NEW YORK UNIVERSITY, “‘Too Much Exposure’: The Paranoia of Race in Gothic Orientalism”
Michael Baumgartner, CLEVELAND STATE UNIVERSITY, “Expanding the Horizon on Film Music Studies: Jean-Luc Godard’s Use of Music in His Films as a Counter-model to the Music in the Mainstream Film Tradition”

Session C 2:00 – 3:45 p.m.

C1. The Spoilage of America Garbage, Junk, and Audiovisual Noise in US Film and TV
Chair: Allison Rittmayer, NORTHWESTERN STATE UNIVERSITY OF LOUISIANA
Michael Rowin, UNIVERSITY OF FLORIDA, “Noise and Spectatorship in Lynch’s Films”
Tania Darlington, SANTA FE COLLEGE, “From Hill Street to Farmington: The Station House as Symbol of Urban Neglect in Television Police Procedurals”
Jacob Agner, UNIVERSITY OF MISSISSIPPI, “Salvaging The Counselor: Watching Cormac McCarthy’s Really Trashy Movie”
Allison Rittmayer, NORTHWESTERN STATE UNIVERSITY OF LOUISIANA, “‘Deswamped and Denuded, and Derivered’: Some Aspects of the Southern Gothic in Rural Noir Landscapes”

C11. Hearing Voices, Songs, and Speech
Chair: Kyle Stevens, BRANDEIS UNIVERSITY
Dolores McElroy, UNIVERSITY OF CALIFORNIA-BERKELEY, “In Extremis: An Inspirational Reading of Judy Garland and The Man That Got Away
Patrik Sjoberg, KARLSTAD UNIVERSITY, “Your Tongue in My Mouth: Lip Synch, Dubbing, Ventriloquism, and the Othering of Voice in Documentary Media”
Liz Greene, DUBLIN CITY UNIVERSITY, “Listening, Singing, and Dancing to Pop Songs in Film: The Sound of Middle-aged Nostalgia”
Kyle Stevens, BRANDEIS UNIVERSITY, “‘I Had No Thoughts at All’: Voice-over, Suicide, and Women’s Sexuality”

Session D 4:00 – 5:45 p.m.

D11. Music Screens, Music Stars, Music Scenes
Chair: Charlotte Howell, UNIVERSITY OF TEXAS AT AUSTIN
Kristen Alfaro, NEW YORK UNIVERSITY, “Screens of Punk, Punks of Screen: Video History and the Nightclubbing Collection at the Fales Library, New York University”
Matt Stahl, UNIVERSITY OF WESTERN ONTARIO, “We Have Paid a Price to Sing This Music: Aging R&B Stars’ Struggle for Reparations and Royalty Reform in the US Recording Industry, 1984–2004”
Brad Stiffler, UNIVERSITY OF MINNESOTA, “Anti-antinetwork TV: TV Party and the (Un)popular Avantgarde on 1970s Cable Access”
Charlotte Howell, UNIVERSITY OF TEXAS AT AUSTIN, “Symbolic Capital and Cable Access: Production Discourse of The American Music Show
Sponsor: Sound Studies Scholarly Interest Group

D18. Podcasting: A Decade into the Life of a “New” Medium
Chair: Andrew Bottomley, UNIVERSITY OF WISCONSIN-MADISON
Brian Fauteux, WILFRID LAURIER UNIVERSITY, “Blog Radio: Satellite Radio and the Aesthetics of Podcasting”
Andrew Salvati, RUTGERS UNIVERSITY, “Podcasting the Past: Historiography and Interactivity in Dan Carlin’s Hardcore History
Kelli Marshall, DEPAUL UNIVERSITY, “Transmedia Storytime with Your Host Marc Maron”
Sponsor: Radio Studies Scholarly Interest Group

Session E 6:00 – 7:45 p.m.

E11. Hear and There: The Politics of Sound
Chair: Allison McCracken, DEPAUL UNIVERSITY
Jim Knippling, UNIVERSITY OF CINCINNATI, “Vicissitudes of Normativity in Non-diegetic Film Music: 1940–1975”
Tim Bell, INDIANA UNIVERSITY, “White Jazz: Music and Fantasies of English Modernity in The Avengers (1961–69)”
Cassie Blake and Tessa Idlewine, ACADEMY FILM ARCHIVE, “Better Seen than Heard: The Anomaly of Female Voiceover in Theatrical Trailers”
Allison McCracken, DEPAUL UNIVERSITY, “Blind Auditions and Vocal Politics: Enacting and Exposing Vocal Essentialism on NBC’s The Voice
Sponsor: Sound Studies Scholarly Interest Group

Wednesday Individual Papers of Interest

A5. Asha Tamirisa, BROWN UNIVERSITY, “Aurality, Virtuality, and the Feminization of Technological Space in Her

A10. Lindsay Affleck, UNIVERSITY OF CALIFORNIA-LOS ANGELES, “‘100 Dollars a Day Plus Expenses’: Richard Diamond as Radio Shamus and Hollywood Telefilm Production”

A17. Anna Dimitrova, UNIVERSITY OF PITTSBURGH, “Polyphonic Soundscape in the Dardenne Brothers’ Film Lorna’s Silence

A18. Tim Anderson, OLD DOMINION UNIVERSITY, “Time for Brand Practice: Networking Finances and the ‘Social Musician’”

C6. Kara Fagan, UNIVERSITY OF IOWA, “Dancing on Ice, Falling out of the Gender Script: Sonja Henie’s 20th Century Fox Musicals and the Feminization of Figure Skating”

Spring-Serenity Duvall, SALEM COLLEGE, “When Gen X Icons Grow Up: Celebrity, Aging, and (Trans) national Canadian Identity in the Careers of Alanis Morissette and Sarah McLachlan”

D5. Veronica Fitzpatrick, UNIVERSITY OF PITTSBURGH, “The Also at Work in Every Intended Something: Belief, Belonging, Sound of My Voice, the East

D12. Joseph Pfender, NEW YORK UNIVERSITY, “The Lifespan of Circuits: Cinematic Experimentalism in the Chaotic Music of Louis and Bebe Barron”

D16. Rachel Kahn and Marc Rose, SOLOMON R. GUGGENHEIM MUSEUM AND UNIVERSITY OF PORTSMOUTH, “Music Video Art House: An Auteurist Study of the Music Video Production Company”

E12. Jing (Jamie) Zhao, CHINESE UNIVERSITY OF HONG KONG, “Problematizing a ‘Desirable’ Queer Media Culture: A Study of the Chinese Reality Talent Shows Super Girls, The Voice of China, and Your Face Sounds Familiar

E20. Andrew deWaard, University of California-Los Angeles: “New Gatekeeper Same as the Old Gatekeeper: Big Data, Big Content, and the Continued Concentration of Ownership in the Music Industry”

"MetrOoo Montréal" by Flickr user Éole Wind, CC BY-NC-SA 2.0

“MetrOoo Montréal” by Flickr user Éole Wind, CC BY-NC-SA 2.0


THURSDAY, March 26

Session F 9:00 – 10:45 a.m.

F11. Composing Narratives: The Role of Music in Film and Television
Chair: Paula Musegades, BRANDEIS UNIVERSITY
Paula Musegades, BRANDEIS UNIVERSITY, “The Sounds of Shangri-La: Romantic Exoticism in Lost Horizon
Sheri Chinen Biesen, ROWAN UNIVERSITY, “Blues, Smoke, and Shadows: Jazz in ‘Musical’ Noir Films”
Reba Wissner, MONTCLAIR STATE UNIVERSITY, “‘I Am Big—It’s the Pictures that Got Small’: Franz Waxman’s Scores for the Big and Small Screens: Sunset Boulevard (1950) and The Twilight Zone’s ‘The Sixteen Millimeter Shrine’ (1959)”
Georgia Luikens, BRANDEIS UNIVERSITY, “Singing Suburbia, Seeing Suburbia: Leonard Bernstein’s Trouble in Tahiti and the Operatic Teleplay”

Session G 11:00 a.m. – 12:45 p.m.

G7. A Paragon of Intermedial Adaptation: The War of the Worlds in Radio, Film, and Social Media
Chair: Doron Galili, STOCKHOLM UNIVERSITY
Co-Chair: Gabriel Paletz, PRAGUE FILM SCHOOL
Gabriel Paletz, PRAGUE FILM SCHOOL, “Book to Broadcast and across Media: Orson Welles’s Strategies of Adaptation”
Doron Galili, STOCKHOLM UNIVERSITY, “War of the Worlds, Mass Media Panic, and the Coming of Television”
Jennifer Stoever-Ackerman, SUNY-UNIVERSITY AT BINGHAMTON, “Invading Auditory Practice: On the War of the Worlds and #WOTW75”
Respondent: Timothy Corrigan, UNIVERSITY OF PENNSYLVANIA
Sponsor: Radio Studies Scholarly Interest Group

G12. Sound Tracks
Chair: Jack Curtis Dubowsky, ACADEMY OF ART UNIVERSITY
Monique Bourdage, UNIVERSITY OF MICHIGAN, “‘You Don’t Appreciate True Musical Genius’: Negotiating Gender and Musical Taste on Playboy after Dark
Carl Laamanen, OHIO STATE UNIVERSITY, “Her and the Technological Acousmêtre”
Rembert Hueser, GOETHE UNIVERSITY FRANKFURT, “Easy Listening in Godard’s La Chinoise
Jack Curtis Dubowsky, ACADEMY OF ART UNIVERSITY, “Queer Monster Music”
Sponsor: Sound Studies Scholarly Interest Group

G21. Workshop: Sound Work Radio Production Cultures
Chair: Andrew Bottomley, UNIVERSITY OF WISCONSIN-MADISON
Workshop Participants:
Shawn VanCour, NEW YORK UNIVERSITY
Tom McCourt, FORDHAM UNIVERSITY
David Uskovich, ST. EDWARD’S UNIVERSITY
Sponsor: Radio Studies Scholarly Interest Group

Session H 1:00 – 2:45 p.m.

H12. Historicizing Cinema’s Sounds and Color
Chair: Andrew Horton, UNIVERSITY OF OKLAHOMA
Benjamin Wright, UNIVERSITY OF TORONTO, “The House that Zimmer Built: Romantic Minimalism and Group Style in Contemporary Film Music”
Julie Hubbert, UNIVERSITY OF SOUTH CAROLINA, “Records, Repertoire, and Rollerball (1975): The Hi-Fi Movement and the New Hollywood Soundtrack”
John Belton, RUTGERS UNIVERSITY, “Man, God, and Kodachrome: The Beginnings of a Color Vernacular”

Session I 3:00 – 4:45 p.m.

I11. Historicizing Technical Standards and Practices in Film Sound
Chair: Katherine Quanz, WILFRID LAURIER UNIVERSITY
Michael Slowik, SAN DIEGO STATE UNIVERSITY, “The Curious Case of Myrna Loy: Voice, Ethnicity, Impersonation, and Early Synchronized Sound Technology”
Eric Dienstfrey, UNIVERSITY OF WISCONSIN-MADISON, “Prints and the New Power Regulations: New Data on the 1938 Academy Curve”
Katherine Quanz, WILFRID LAURIER UNIVERSITY, “The Aesthetic Impact of the National Film Board’s Sound Technology After 1956”
Kevin Donnelly, UNIVERSITY OF SOUTHAMPTON, “Progressive Rock, Technology, and Film in the 1970s”
Sponsor: Sound Studies Scholarly Interest Group

Session J 5:00 – 6:45 p.m.

J11. Screening Instability Genders, Genres, and Soundscapes of Cinematic Modernization in 1960s Mexico
Chair: Francisco Flores-Cuautle, WICHITA STATE UNIVERSITY
Brian L. Price, BRIGHAM YOUNG UNIVERSITY, “Rock and Roll Films and the Development of Mexican Counterculture”
Francisco Flores-Cuautle, WICHITA STATE UNIVERSITY, “Hyperbolic Masculinity and Effeminacy in Viento Negro (Dark Wind)”
Carolyn Fornoff, UNIVERSITY OF PENNSYLVANIA, “Musical Interludes in Mexican Melodrama: Crafting a Sonic Space of Exclusion”
Ignacio Sanchez Prado, WASHINGTON UNIVERSITY IN ST. LOUIS, “A Hero and the Monsters of Modernity: Wrestler Cinema as Popular Cosmopolitanism”
Respondent: Sergio de la Mora, UNIVERSITY OF CALIFORNIA-DAVIS

Special Event 7:30 p.m.

Wind from the Middle East: An Evening of Music and Film
Location: La Vitrola, 4602 Boulevard Saint-Laurent
The Middle East Caucus presents an evening of entertainment and discussion, featuring a performance by local Montreal musicians Sam Shalabi (playing oud) and Stefan Christoff (on electric guitar). Following the musical performance, there will be a presentation by Negar Mottahedeh, Associate Professor of Literature at Duke University, and author of Displaced Allegories: Post-Revolutionary Iranian Cinema. Professor Mottahedeh’s talk is titled “Le Vent Nous Portera: of lovers possessed, times entangled, and bodies carried away,” and will be accompanied by a video projection.
Metro: Station Laurier or a short taxi ride from the conference hotel.
Sponsored By: Middle East Caucus and supported by SCMS

Thursday Individual Papers of Interest

F6. Zachary Campbell, NORTHWESTERN UNIVERSITY, “The Audiovisual Otherwise: Valences of Media as Political Figurations”

F7. Denise Mok, UNIVERSITY OF BRITISH COLUMBIA, “Transnational Agencies and Auras: Performance and Star Power in Transatlantic Film Performances in Early Sound Cinema”

F8. Theo Stojanov, CONCORDIA UNIVERSITY, “Manufactured Soundscapes: Recycled Media, Sound Archives, Materiality”

G10. Anupama Kapse, QUEENS COLLEGE-CUNY, “Autobiographies of Dissent: Memories of Screen Acting in the Early Sound Film”

G11. Colin Burnett, WASHINGTON UNIVERSITY IN ST. LOUIS, “The Vernacular of Rhythm: How the Language of Postwar Film Culture Elaborated on a Musical Analogy”

H8. Jane Stadler, UNIVERSITY OF QUEENSLAND, “Sonic Disturbance: Film, Phenomenology, and the Threshold of Acoustic Experience”

H11. Anne Jerslev, UNIVERSITY OF COPENHAGEN, “David Lynch and Haptic Audio-Visuality in Crazy Clown Time”

H18. Ryan Powell, INDIANA UNIVERSITY, “Queer Aurality in Seventies Gay Art Porn”

I4. James Deaville, CARLETON UNIVERSITY, “Music and Sound in Film Trailers: A Preliminary Ethnographic Study of Producers and Consumers”

J7. Katherine Spring, WILFRID LAURIER UNIVERSITY, “Film Music and Moral Rights in Hollywood’s Early Sound Era”

"Place des Arts" by Flickr user Logan Charlot, CC BY-NC-SA 2.0

“Place des Arts” by Flickr user Logan Charlot, CC BY-NC-SA 2.0


FRIDAY, March 27

Session K 9:00 – 10:45 a.m.

K22. Dis-locating Sound
Chair: Lutz Koepnick, VANDERBILT UNIVERSITY
Co-Chair: Nora M. Alter, TEMPLE UNIVERSITY
Nora M. Alter, TEMPLE UNIVERSITY, “Shocking Sounds: Surrealism, Songs, and the Essay Film”
Jennie Hirsh, MARYLAND INSTITUTE COLLEGE OF ART, “Transmissions of Fascism: Advertising Architecture through the Ente Radio Rurale Poster Campaign”
Kenneth White, STANFORD UNIVERSITY, “Reason and Passion: Joyce Wieland, Pierre Vallières, and Cold War North American Avant-garde Cinema”
Lutz Koepnick, VANDERBILT UNIVERSITY, “Sounds without Frontiers, Cinemas without Screens”
Sponsor: Sound Studies Scholarly Interest Group

Session M 2:15 – 4:00 p.m.

M2. She Bop on Screen Girls, Popular Music, and Visual Media
Chair: Diane Pecknold, UNIVERSITY OF LOUISVILLE
Mary Kearney, UNIVERSITY OF NOTRE DAME, “Getting Girls to Rock: Gendering Rock ‘n’ Roll in US Teen Media, 1956–1966”
Norma Coates, UNIVERSITY OF WESTERN ONTARIO, “Dangerous Representations: Empowered Teen Girls, the Monkees, and ‘The’ Monkees”
Morgan Blue, UNIVERSITY OF TEXAS AT AUSTIN, “Disney Channel’s Pop Girlhood”
Diane Pecknold, UNIVERSITY OF LOUISVILLE, “Spectral Cityscapes and the Tween Pop Public Sphere”
Sponsor: Sound Studies Scholarly Interest Group

M8. Workshop: The Problem of the Radio Canon
Chair: Jason Loviglio, UNIVERSITY OF MARYLAND
Workshop Participants:
Debra Rae Cohen, UNIVERSITY OF SOUTH CAROLINA
Bill Kirkpatrick, DENISON UNIVERSITY
Kate Lacey, UNIVERSITY OF SUSSEX
Jason Loviglio, UNIVERSITY OF MARYLAND
Elena Razlogova, CONCORDIA UNIVERSITY
Sponsor: Radio Studies Scholarly Interest Group

Special Event 9:00 – 9:30 p.m.

Satosphere: 360-Degree Spherical Screen with 157 Speakers
Location: Société des Arts et Technologies, 1201 Boulevard Saint Laurent, 3rd Floor
Channeling the techno-utopianism of Expo 67, the Satosphere Dome is a state-sponsored, permanent environment dedicated to large-scale moving image and sound experimentation. With a screen that is eighteen meters in diameter (that’s 60 feet!), you can sit back—or literally lie down—on the couches and ponder a distinct mode of spectatorship, immersion, and art. An experience of audio-visual envelopment not to be missed!
Metro: St Laurent
Directions: From conference hotel—a 15 minute walk from the hotel. Walk east on René-Lévesque and turn left (north) onto Boulevard Saint Laurent.
Sponsor: Concordia University

Friday Individual Papers of Interest

K13. Alan Pike, EMORY UNIVERSITY, “The Genrefication of Prison Films in the Early Sound Era”

K14. Thomas Dorey, YORK UNIVERSITY, “Pop-up Paratext: Film Directors, Music Videos, and Paramediality”

L9. Eileen Rositzka, UNIVERSITY OF ST. ANDREWS, “Corpographic Coordinates: Zero Dark Thirty, United 93, and the Sound of Vision”

L12. Lilya Kaganovsky, UNIVERSITY OF ILLINOIS AT URBANA-CHAMPAIGN, “Socialist Realist Sound”

M6. Vanessa Chang, STANFORD UNIVERSITY, “From Playback to Play: Gestural Invention and Digital Music”

M7. Michael B. Gillespie, OHIO UNIVERSITY, “‘Ne me quitte pas’: 9/11, Civic Pop, and Sonic Historiography”

"18/07/12" by Flickr user Thien, CC BY-NC-ND 2.0

“18/07/12″ by Flickr user Thien, CC BY-NC-ND 2.0


SATURDAY, March 28

Session N 9:00 – 10:45 a.m.

Meeting
Radio Studies Scholarly Interest Group
Room: Les Voyageurs 2, Lobby Level

N8. The Voice in Translation
Chair: Jennifer Fleeger, URSINUS COLLEGE
Sarah Wright, ROYAL HOLLOWAY-UNIVERSITY OF LONDON, “Locating the Voice in Silent Cinema: Pablo Berger’s Blancanieves
Jennifer Fleeger, URSINUS COLLEGE, “Tito Schipa, Italian Film Sound, and Opera’s Legacy on Screen”
Tom Whittaker, UNIVERSITY OF LIVERPOOL, “‘Being’ Woody Allen: Dubbing, Vocal Performance, and Stardom in Spanish Film”
Christine Ehrick, UNIVERSITY OF LOUISVILLE, “Voice, Gender, and the Soundscapes of Buenos Aires in the Comedy of Niní Marshall, 1937–1947”

Session O 11:00 a.m. – 12:45 p.m.

O6. The Public Good Goes to Market: North American Public Service Media and the Marketplace in the Digital Convergence Era
Chair: Christopher Cwynar, UNIVERSITY OF WISCONSIN-MADISON
Jason Loviglio, UNIVERSITY OF MARYLAND, “NPR Listens: Psychographics, Audience Measurement, and the Privatization of Public Service Radio”
Kyle Conway, UNIVERSITY OF OTTAWA, “Policy beyond the Nation-State; or, Why the French Didn’t Watch Canada’s Little Mosque on the Prairie
Christopher Cwynar, UNIVERSITY OF WISCONSIN-MADISON, “Social Service Media?: Assessing the CBC and NPR’s Engagement with Social Media Platforms”
Respondent: Laurie Ouellette, UNIVERSITY OF MINNESOTA
Sponsor: Radio Studies Scholarly Interest Group

O11. The Sonic Impact of Scale Local and National Radio in “the 1960s”
Chair: Darrell Newton, SALISBURY UNIVERSITY
Josh Glick, YALE UNIVERSITY, “Soundscapes of South Los Angeles: Radio and the Voices of Resistance”
Darrell Newton, SALISBURY UNIVERSITY, “Being of Color in Britain: Identity, 1960s Radio, and West Indian Immigration”
Eleanor Patterson, UNIVERSITY OF WISCONSIN-MADISON, “We Are Not Reviving a Ghost: Reconfiguring Radio Drama in Post-network Era United States”
Alexander Russo, THE CATHOLIC UNIVERSITY OF AMERICA, “Musical Storytelling to a Fragmented Nation: American Top 40 and Cultural Conflict”
Sponsor: Radio Studies Scholarly Interest Group

Session P 1:00 – 2:45 p.m.

P7. Fringe Time: Gender and Crossover Programming in the US Radio-TV Transition
Chair: Jennifer Wang, INDEPENDENT SCHOLAR
Elana Levine, UNIVERSITY OF WISCONSIN-MILWAUKEE, “Picturing Soap Opera: Daytime Serials and the Transition from Radio to Television”
Jennifer Wang, INDEPENDENT SCHOLAR, “Resuscitating the Wife Saver: Gender, Genre, and Commercialism in Postwar Broadcasting”
Jennifer Lynn Jones, INDIANA UNIVERSITY, “Signal Size: Gender, Ethnicity, and Diet Episodes in the Radio-TV Transition”
Kate Newbold, NORTHWESTERN UNIVERSITY, “‘Now the Booing Is Done in Soprano’: Wrestling, Female Audiences, and Discourses of Liveness in the Radio-to-TV Transition in America, 1940–1953”
Sponsor: Radio Studies Scholarly Interest Group

P10. Historicizing Music and Transmedia
Chair: Landon Palmer, INDIANA UNIVERSITY
Kyle Barnett, BELLARMINE UNIVERSITY, “Popular Music Celebrity, Jazz-age Media Convergence, and Depression-era Transmedia”
Kevin John Bozelka, AUSTIN COLLEGE, “Everything on the Pig but the Squeal: Artist/ Publishers and Recordings in the Post-WWII American Entertainment Industry”
Landon Palmer, INDIANA UNIVERSITY, “All Together Now: The Beatles, United Artists, and Transmedia Conglomeration”
Alyxandra Vesey, UNIVERSITY OF WISCONSIN-MADISON, “Mixing in Feminism: Playlists, Networks, and Counterpublics”
Sponsors: Radio Studies and Sound Studies Scholarly Interest Groups

P12. Workshop: Trans Women’s Media Activism Digital Interventions and HIV/AIDS
Chair: Marty Fink, GEORGIA INSTITUTE OF TECHNOLOGY
Workshop Participants:
Morgan Page, MCGILL UNIVERSITY
Morgan Sea, TRANZISTER RADIO
Bryn Kelly, INDEPENDENT SCHOLAR
Alexandra Juhasz, PITZER COLLEGE
Sponsor: Media Literacy & Pedagogical Outreach Scholarly Interest Group

Session Q 3:00 – 4:45 p.m.

Q18. Workshop: Something Good? The Sound of Music at Fifty
Chair: Desirée Garcia, Arizona State University
Workshop Participants:
Steven Cohan, SYRACUSE UNIVERSITY
Caryl Flinn, UNIVERSITY OF MICHIGAN
Sean Griffin, SOUTHERN METHODIST UNIVERSITY
Adrienne L. McLean, UNIVERSITY OF TEXAS AT DALLAS
Desirée Garcia, ARIZONA STATE UNIVERSITY

Q22. New Approaches to Music and Film Theory and History
Chair: Lea Jacobs, UNIVERSITY OF WISCONSIN-MADISON
James Buhler, UNIVERSITY OF TEXAS AT AUSTIN, “Toward a Theory of the Part-talkie”
Lea Jacobs, UNIVERSITY OF WISCONSIN-MADISON, “Rethinking the Sync: Adorno, Eisler, and Eisenstein”
Jeff Smith, UNIVERSITY OF WISCONSIN-MADISON, “Paying the Piper at Paramount: Budgets, Shooting Schedules, and the Score for Midnight (1939)”
Andrew Johnston, NORTH CAROLINA STATE UNIVERSITY, “Chromatic Rhythms and Display Memories”

Q23. Stream Engines: Streaming Services and Media Distribution
Chair: Devon Powers, DREXEL UNIVERSITY
Jeremy Morris and Devon Powers, UNIVERSITY OF WISCONSIN-MADISON AND DREXEL UNIVERSITY, “Now Streaming: Control, Content, and Curation in Digital Music Services”
Blake Hallinan, INDIANA UNIVERSITY, “‘My Context Is My Query’: Algorithmic Flow as Emergent Entertainment Paradigm”
Eric Harvey, WEBER STATE UNIVERSITY, “Listening Like a Platform: The Reorganization and Intensification of Streaming Music Commerce”
Chris Baumann, STOCKHOLM UNIVERSITY, “It’s Not TV, It’s Netflix: On Streaming Netflix, Technological Obsolescence, and the Cultural Status of a Medium”

Session R 5:00 – 6:45 p.m.

R11. The Acoustic 1930s: Global Film Sound Technique and Aesthetic from Silent to Sound
Chair: Ling Zhang, UNIVERSITY OF CHICAGO
Kathryn Kalinak, RHODE ISLAND COLLEGE, “New Means of Enormous Power: Soviet Film Music in the 1930s”
Charles O’Brien, CARLETON UNIVERSITY, “Film Sound and Dubbing Technique”
Jeremy Barham, UNIVERSITY OF SURREY, “When Is a Musical Film Not a Film Musical?: Diegetic and Generic Complexity in Germany’s First Sound Films”
Ling Zhang, UNIVERSITY OF CHICAGO, “The Comic Soundscape and Audiovisual Heterogeneity: Yuan Muzhi’s Scenes of City Life (1935) and Street Angel (1937)”
Respondent: James Lastra, UNIVERSITY OF CHICAGO

R12. Sounding the Interactive Documentary: Non-fiction, New Media, and the Problem of Immersion
Chair: Michael Baker, SHERIDAN COLLEGE
Co-Chair: Randolph Jordan, SIMON FRASER UNIVERSITY
Michael Baker, SHERIDAN COLLEGE, “Bear 71, Popular Music, and the Problem of Immersion”
Randolph Jordan, SIMON FRASER UNIVERSITY, “The Soundscapes of Mobile Periodization in Stan Douglas’s iOS app, Circa 1948
Milena Droumeva, SIMON FRASER UNIVERSITY, “Curating Everyday Life: Smartphones and Interactive Documentary as Daily Practice”
Respondent: Andrew Utterson, ITHACA COLLEGE
Sponsor: Documentary Studies Scholarly Interest Group

Special Event 8:00 – 9:30 p.m.

Experiments in 3D: Norman McLaren
Location: Henry F. Hall Building, Concordia University, 1455 boulevard de Maisonneuve Ouest, Room H-110
Please refer to Montreal vicinity map on page 32 for location. Join us for a screening of four recently restored stereoscopic and stereophonic shorts by renowned Scottish-Canadian animator and experimental filmmaker Norman McLaren. The evening will also feature a new documentary about McLaren’s musical compositions entitled Norman McLaren: Animated Musician, with its director Donald McWilliams in attendance. A brief question period will follow the screening with the National Film Board filmmakers, researchers, and McLaren collaborators who formed the restoration team.

Films to be screened in 3D:
Around Is Around, directed by Norman McLaren, 1951 (3D animation)
Now Is the Time, directed by Norman McLaren, 1951 (3D animation)
O Canada, directed by Evelyn Lambart, 1952 (3D animation)
Twirligig, directed by Gretta Ekman, 1952 (3D animation)
Norman McLaren: Animated Musician, directed by Donald McWilliams, 2014 (documentary live action)

Metro: Guy-Concordia
Directions: From the conference hotel—15 minute walk from the hotel. Walk west on René-Lévesque and then turn right on MacKay St. until you come to boulevard de Maisonneuve. The Hall Building will be on the north and west side of de Maisonneuve and MacKay.
Sponsors: Concordia University, McGill Institute for the Study of Canada, and the National Film Board

Saturday Individual Papers of Interest

N7. Yeidy Rivero, UNIVERSITY OF MICHIGAN, “The Original Miami Sound Machine: The Emergence of Miami as a Production Center for the US and Latin America”

Christopher Westgate, JOHNSON & WALES UNIVERSITY, “Passion Points for Latin@ Pop Music: Heat, Hits, and the Emotion of Economics”

P17. Ioana Uricaru, MIDDLEBURY COLLEGE, “No Melo—Music and Minimalism in Recent Romanian Cinema”

Q4. Andrew Ritchey, UNIVERSITY OF IOWA, “Trompe l’oreille: Dislocations of Sound and Sense in a Partly Québécoise Family of Recorded Sound Works by Michael Snow”

R7. Kathy Fuller-Seeley, UNIVERSITY OF TEXAS AT AUSTIN, “Becoming Benny: Jack Benny’s Production of a Radio Comedy Persona, 1932–1936”

Lauren Sklaroff, UNIVERSITY OF SOUTH CAROLINA, “The Hilarious Sophie Tucker: Humor, Womanhood, and the Dynamics of Delivery”

R20. Victoria Simon, MCGILL UNIVERSITY, “Anybody Can Be a Musician: Transparency and the Discursive Construction of Touch in Interfaces for Music Composition”

"Montreal skyline from McGill University" by Flickr user slack12, CC BY-NC-ND 2.0

“Montreal skyline from McGill University” by Flickr user slack12, CC BY-NC-ND 2.0


SUNDAY, March 29

Session S 9:00 – 10:45 a.m.

S16. Speaking of Sound: Historical Studies in Sound Practices and Technologies
Chair: Matthew Perkins, UNIVERSITY OF CALIFORNIA-LOS ANGELES
Meredith Ward, NORTHWESTERN UNIVERSITY, “The Sound Industry Lays the Golden Egg: Noise, Electroacoustical Research, and the Adjustment to Film Sound”
Casey Long, UNIVERSITY OF WISCONSIN-MADISON, “First Thing I Learned . . . Is When to Say Ain’t: Dialect in 1930s Hollywood”
Jennifer Psujek, WASHINGTON UNIVERSITY IN ST. LOUIS, “‘Free to Do Anything’: Fight Club (1999), Indiewood, and the Composite Score at the Turn of the Twenty-first Century”
Matthew Perkins, UNIVERSITY OF CALIFORNIA-LOS ANGELES, “Sound Work: The Acquisition of Sound Labor and Division Thereof at Vitaphone and Warner Bros., 1925–1931”
Sponsor: Sound Studies Scholarly Interest Group

Session T 11:00 a.m. – 12:45 p.m.

T11. Sound, Technology, and Auditory Knowledge
Chair: Alejandra Bronfman, UNIVERSITY OF BRITISH COLUMBIA
Workshop Participants:
Axel Volmar, MCGILL UNIVERSITY
Carolyn Birdsall, UNIVERSITY OF AMSTERDAM
Anthony Enns, DALHOUSIE UNIVERSITY
Alejandra Bronfman, UNIVERSITY OF BRITISH COLUMBIA

Session U 1:00 – 2:45 p.m.

U3. Workshop: What Can Disability Studies Do for Media Studies?
Chair: Bill Kirkpatrick, DENISON UNIVERSITY
Workshop Participants:
Elizabeth Ellcessor, INDIANA UNIVERSITY
Mara Mills, NEW YORK UNIVERSITY
Tasha Oren, UNIVERSITY OF WISCONSIN-MILWAUKEE
Jonathan Sterne, MCGILL UNIVERSITY

U12. Music Structures and Affect
Chair: Britta Hanson, UNIVERSITY OF SOUTHERN CALIFORNIA
Katherine Reed, UNIVERSITY OF FLORIDA, “Between Grace and Nature: The Tree of Life’s Musical Dialogic Process and Formal Structure”
Phoebe Macrossan, UNIVERSITY OF NEW SOUTH WALES, “Constructing Glee’s Sung-through Musical Narrative through Spontaneity and Verisimilitude”
Christopher Culp, SUNY-UNIVERSITY AT BUFFALO, “‘This Isn’t Real, but I Just Wanna Feel’: Musicals, Television, and the Queer Ineffable Passage of Time”
Britta Hanson, UNIVERSITY OF SOUTHERN CALIFORNIA, “Music as Rhetoric in Contemporary Documentaries”

U18. Discontinuous Colonial Modernities of Media Film and Radio in British Malaya and Portuguese Southern Africa
Chair: Peter Bloom, UNIVERSITY OF CALIFORNIA-SANTA BARBARA
Co-Chair: Nadine Chan, UNIVERSITY OF SOUTHERN CALIFORNIA
Ines Cordeiro Dias, UNIVERSITY OF CALIFORNIA-LOS ANGELES, “Discourses of Urban Modernity in Portuguese Colonial Cinema”
Nadine Chan, UNIVERSITY OF SOUTHERN CALIFORNIA, “Cinematic Afterlives: Films of the Malayan Emergency at the Transition from Empire to Independence”
Peter Bloom, UNIVERSITY OF CALIFORNIA-SANTA BARBARA, “Learning the Speech of Counterinsurgency as National Allegory: BBC Radio and Instructional Propaganda Film during the Malayan Emergency”
Respondent: Peter Limbrick, UNIVERSITY OF CALIFORNIA-SANTA CRUZ
Sponsor: Middle East Caucus and Radio Studies Scholarly Interest Group

Sunday Individual Papers of Interest

T7. Keir Keightley, UNIVERSITY OF WESTERN ONTARIO, “Tin Pan Alley Goes Silent: Two Films about the Music Industry in 1919”

T13. Roger Almendarez, NORTHWESTERN UNIVERSITY, “Radio Arte—The Formation of a Mediated, Local Latina/o Identity in Chicago’s Pilsen Neighborhood”

"Youppi ! (31 / 365)" by Flickr user Jacques Fournier, CC BY-NC-ND 2.0

“Youppi ! (31 / 365)” by Flickr user Jacques Fournier, CC BY-NC-ND 2.0

Sound at SEM 2014

"Musician" by Flickr user Joanna, CC BY-NC 2.0
http://www.flickr.com/photos/magandafille/2259728042/

Hot on the heels of the American Musicological Society and Society for Music Theory’s joint annual meeting in Milwaukee, the Society for Ethnomusicology will hold its 59th Annual Meeting in Pittsburgh, November 13-16, 2014, hosted by the University of Pittsburgh. SEM is arguably one of the conferences most hospitable  to sound studies, and several panels feature strong papers.

On Wednesday, Nov. 12, the “Music and Labor” pre-conference symposium features some fascinating papers of interest to sound scholars and includes a keynote address by Dr. Marcus Rediker, Distinguished Professor of Atlantic History at the University of Pittsburgh. With panels titled “(Re) Conceptualizing Music and Labor,” “The Labor of Music in Transitioning Economies,” “Art as Work: Defying Capitalist Hegemony and National Narrative through Musical Activism and Creative Adaptation,” and “Transformation of Music Labor Regimes in Socialist and Post-Socialist Southeastern Europe,” even the papers that aren’t especially sound studies-related have the potential to demonstrate deft interdisciplinary approaches that would be applicable (and fruitful) in sound studies research.

One of the first sound studies events of the conference program is the annual meeting of the Sound Studies Special Interest Group. Dr. Allen Roda, Jane and Morgan Whitney Research Fellow at the Metropolitan Museum of Art in New York City, and I are currently co-chairs of the SIG; anyone interested in sound studies will not want to miss our meeting on Thursday, November 13 at 12:30-1:30 PM in the Duquesne Room. This year’s meeting will mark the SIG’s 6th anniversary since it was formed in 2009. The group now has over 100 members and is represented on several panels at the 2014 conference in Pittsburgh. One co-chair seat will become vacant this year, and the group will hold elections to fill this position at the meeting; we also plan to discuss plans for more visibility online and among the academic community.

Before the meeting, come early to the 8:00-10:30 AM session in that same room to catch Molly McBride’s paper, “The Sounds of Humor: Listening to Gender in Early Barn Dance Radio,” or see a whole sound studies panel titled “Auditory Histories of the Indian Ocean: Hearing the Soundworlds of the Past” in the Alleghany Room.

"The Cathedral of Learning at UPitt" by Flickr user Carlos Hernandez, CC BY-NC-SA 2.0

“The Cathedral of Learning at UPitt” by Flickr user Carlos Hernandez, CC BY-NC-SA 2.0

If you can’t make those early panels on the first day, the convention boasts numerous, high-quality sound studies sessions, many of which convene simultaneously. There have been several sound studies-related panels and individual papers at past meetings, but the number of high-quality papers is certainly trending in favor of more sound studies.

Also, the last several annual meetings have featured a soundwalk hosted by the Sound Studies SIG. This year is no different; however, rather than having a guided walk around the host city, this year’s soundwalk will be self-guided. Using the Twitter hashtag #semsoundwalk, participants will listen to Pittsburgh, the acoustic environment of the conference itself, the coffee shop where they stop for refreshment, or wherever they happen to find themselves between 1:15 – 6:00PM on Friday, Nov. 14. Be sure to follow the hashtag – even if you’re not in Pittsburgh – to “listen” along with conference participants.

I am delighted to see that this year’s conference unites the SEM’s commitment to the study of world musics and cultures and sound studies, particularly in panels such as “Auditory Histories of the Indian Ocean: Hearing the Soundworlds of the Past,” “Contemplating Voice in Cross-Cultural Perspective,” and “Regulating Space, Regulating Sound: Musical Practice and Institutional Mediation in São Paulo, Brazil.” This year also highlights the SEM’s strong interdisciplinary bent and makes even more room at the epistemological table for the examination of technoculture and its implications for sound studies and the larger ethnomusicological community.

Because of the sheer volume of sound studies activities, rather than listing my “picks” for the conference, I’ve listed most of the relevant papers and sessions, leaving the hard decision up to you. In fact, there are so many genuine sound studies panels and papers (or papers on closely related topics) its easy to see why the blurry line that demarcates “sound studies” from “music studies” seems blurriest at SEM. For those who cannot attend the conference, some of this year’s panels will be live-streamed. The Special Interest Groups for Sound Studies and Ecomusicology are also co-hosting a roundtable on Saturday morning. For more information about the conference and to catch the live-streamed sessions, visit the conference website at http://www.indiana.edu/~semhome/2014/.

Michael Austin is Assistant Professor of Media, Journalism, and Film and coordinator of the Interdisciplinary Studies Program in the School of Communications at Howard University where he teaches courses in music production, sound design for film and audio production. He holds a Ph.D. in Humanities – Aesthetic Studies (with a specialization in Arts and Technology) from the University of Texas at Dallas and music degrees from UT-San Antonio and UT-Austin. He is also affiliated with the Laboratoire Musique et Informatique de Marseille, an audio/music technology and informatics lab in Marseille, France, and is co-chair of the Society for Ethnomusiciology’s Special Interest Group for Sound Studies.

Featured image: “Musician” by Flickr user Joanna, CC BY-NC 2.0

"Cathedral of learning/Stephen Foster Memorial - Painted by Light" by Flickr user Sriram Bala, CC BY-NC 2.0

“Cathedral of learning/Stephen Foster Memorial – Painted by Light” by Flickr user Sriram Bala, CC BY-NC 2.0

WEDNESDAY, November 12

8:00 am – 8:00 pm

Ballroom 3, Wyndham Grand Pittsburgh Downtown Hotel
Pre-Conference Symposium: “Music and Labor”

THURSDAY, November 13

8:30 – 10:30 am

Duquesne Room
“The Sounds of Humor: Listening to Gender on Early Barn Dance Radio,” Molly McBride, Memorial University of Newfoundland

Alleghany Room
Session: Auditory Histories of the Indian Ocean: Hearing the Soundworlds of the Past
“Wonders and Strange Things: Practices of Auditory History before Recorded Sound,” Katherine Butler Schofield, King’s College London
“Notes in the Margins: Sumatran Religious Hybridity and the Efficacy of Sound, “ Julia Byl, King’s College London
“Contact, Contestation and Compromise: Sound and Space in 19th-Century Singapore,” Jenny McCallum, King’s College London
“A ‘Wayang of the Orang Puteh’?: Theatres, Music Halls and Audiences in High-Imperial, Calcutta, Madras, Penang and Singapore,” David Lunn, King’s College London

10:45am -12:15 pm

Sterling 3 Room
“Sounding Neoliberalism in the Richmond City Jail,” Andrew C. McGraw, University of Richmond

Heinz Room
“The Color of Sound: Timbre in Ralph Ellison’s Invisible Man,” Sydney A. Boyd, Rice University

12:30 – 1:30 pm

Duquesne Room
Special Interest Group for Sound Studies

1:45 – 3:45 pm

Sterlings 1 Room
“Radio Archives and the Art of Persuasion: Preserving Social Hierarchies in the Airwaves of Lima” Carlos Odria, Florida State University

Ft. Pitt Room
Session: Mediated Musics, Mediated Lives
“Uploading Matepe: The Role of Online Learning Communities and the Desire to Connect to Northeastern Zimbabwe,” Jocelyn A. Moon, University of Washington; Zachary Moon, Independent Scholar
“Staging Overcoming: Disability, Meritocracy, and the Envoicing of Dreams,” William Cheng, Dartmouth University
“As Time Goes By: Car Radio and Spatiotemporal Manipulations of the Travel Experience in 20th-Century America,” Sarah Messbauer, University of California, Davis
“’How Can We Live in a Country Like This?’ Music, Talk Radio, and Moral Anxiety,” Karl Haas, Boston University

Sterling 3 Room
Session: Oxide and Memory: Tape Culture and the Communal Archive
Oxide and Memory: Tape Culture and the Communal Archive
“Magnetic Tape, Materiality, and the Interpretation of Non-Commercial Cassette and Reel-to-Reel Recordings from Quebec’s Gaspé Peninsula,” Laura Risk, McGill University
“Family Sense and Family Sound: Home Recordings and Greek-American Identity,” Panayotis League, Harvard University
“The Memory of Media: Autoarchivization and Empowerment in 1970s Jazz,” Michael C. Heller, University of Massachusetts, Boston
“Reimagining the Community Sound Archive: Cultural Memory and the Case for ‘Slow’ Archiving in a Gaspesian Village,” Glenn Patterson, Memorial University of Newfoundland

4:00 – 5:30 pm

Sterlings 1 Room
Panel: Contemplating Voice in Cross-Cultural Perspective
“The Gravest of Female Voices: Women and the Alto in Sacred Harp,” Sarah E. Kahre, Florida State University
“Re-sounding Waljinah: Aging and the Voice in Indonesia,” Russ P. Skelchy, University of California, Riverside
“Katajjaq: Between Vocal Games, Place and Identity,” Raj S. Singh, York University

Sterlings 3 Room
Session: Rumors, Sound Leakages and Individual Tales: Disruptive Listening in Zones of Conflict
“From the Struggle for Citizenship to the Fragmentation of Justice: Reflections on the Place of Dinka Songs in South Sudan’s Transitional Justice Process,” Angela Impey, School of Oriental and African Studies (SOAS), University of London
“Internet Rumors and the Changing Sounds of Uyghur Religiosity: The Case of the Snake Monkey Woman,” Rachel Harris, School of Oriental and African Studies (SOAS), University of London
“The Cantor and the Muezzin’s Duet at the Western Wall: Contesting Sound Spaces on the Frayed Seams of the Israel-Palestine Conflict,” Abigail Wood, University of Haifa

Heinz Room
Session: Historiography, Historicity, and Biography
“A Sonic Historiography of Early Sample-Based Hip-Hop Recordings,” Patrick Rivers, University of New Haven
“Biography as Methodology in the Study of Okinawan Folk Song,” Kirk A. King, University of British Columbia
“Sounding the Silent Image: Uilleann Piper as Ethnographic Object in Early Hollywood Film,” Ivan Goff, New York University

Untitled by Flickr user David Kent, CC BY-NC-ND 2.0

Untitled by Flickr user David Kent, CC BY-NC-ND 2.0

FRIDAY, November 14

7:00 – 8:00 am

Special Interest Group for Voice Studies

8:30 – 10:30 am

Commonwealth 1-2 Room, live streaming
Session: Sound Networks: Socio-Political Identity, Engagement, and Mobilization through Music in Cyberspace and Independent Media
*Sponsored by the Popular Music Section and Special Interest Group for Sound Studies
“Technological Factors Conditioning the Socio-Political Power of Music in Cyberspace,” Michael Frishkopf, University of Alberta
“Cyber-Mobilization, Informational Intimacy, and Musical Frames in Ukraine’s EuroMaidan Protests,” Adriana Helbig, University of Pittsburgh
“Countering Spirals of Silence: Protest Music and the Anonymity of Cyberspace in the Japanese Antinuclear Movement,” Noriko Manabe, Princeton University
“Living (and Dying) the Rock and Roll Dream: Alternative Media and the Politics of ‘Making It’ as an Iranian Underground Musician,” Farzaneh Hemmasi, University of Toronto

Sterling 1 Room
Session: Affective Environments and the Bioregional Soundscape
*Sponsored by the Special Interest Group for Ecomusicology
“’Landscape is Not Just What Your Eyes See’: Battery Radio, the Technological Soundscape, and Sonically Knowing the Battery, Kate Galloway, Memorial University of Newfoundland
“Re-sounding Caribou: Musical Posthumanism in Being Caribou,” Erin Scheffer, University of Toronto
“Cold, Crisp, and Dry: Inuit and Southern Concepts of the Northern Soundscape,” Jeffrey van den Scott, Northwestern University
Discussant, Nancy Guy, University of California, San Diego

Duquesne Room
“The Sound of Affective Fact,” Matthew Sumera, University of Minnesota

1:15 – 6:30 pm

Soundwalk: A Sonic Environmental Survey of the SEM Annual Meeting
*Sponsored by the Special Interest Groups for Sound Studies and Ecomusicology. Follow the walk on Twitter: #semsoundwalk
(Meet in Wyndham Grand main lobby at 1:15pm. Reconvene in lobby at 6:00)

1:45 – 3:45 pm

Smithfield Room
Session: Strident Voices: Material and Political Alignments
*Sponsored by the Special Interest Group for Voice Studies
“Registering Protest: Voice, Precarity, and Assertion in Crisis Portugal,”Lila Ellen Gray, University of Amsterdam
“Quiet, Racialized Vocality at Fisk University,” Marti Newland, Columbia University
“’The Rough Voice of Tenderness’: Chavela Vargas and Mexican Song,” Kelley Tatro, North Central College
Discussant: Amanda Weidman, Bryn Mawr College

4:00 – 5:30 pm

Heinz Room
Session: Celebratory Sounds and the Politics of Engagement
“Creating Zakopower in Postsocialist Poland,” Louise J. Wrazen, York University
“Merry-Making and Loyalty to the Movement: Conviviality as a Core Parameter of Traditionalism in Aysén, Chile,” Gregory J. Robinson, George Mason University
“Sounding the Carnivalesque: Changing Identities for a Sonic Icon of the Popular,” Michael S. O’Brien, College of Charleston

"Musical Mystery" by Flickr user Robert Wilhoit, CC BY-NC-SA 2.0

“Musical Mystery” by Flickr user Robert Wilhoit, CC BY-NC-SA 2.0

SATURDAY, November 15

8:30 – 10:30 am

Sterlings 1 Room
Roundtable: Sound Studies, Ecomusicology, and Post-Humanism In/For/With Ethnomusicology
*Sponsored by the Special Interests Groups for Ecomusicology and for Sound Studies
P. Allen Roda, The Metropolitan Museum of Art
Jennifer Post, University of Arizona
Mark Pedelty, University of Minnesota
Michael Silvers, University of Illinois at Urbana-Champaign
Ben Tausig, Stony Brook University
Zeynep Bulut, King’s College London

10:45 am – 12:15 pm

Benedum Room, live streaming
Musical Instruments, Material Cultures, and Sound Ecologies
“Bulgarian Acoustemological Tales: Narrativity, Agrarian Ecology, and the Kaval’s Voice,” Donna A. Buchanan, University of Illinois at Urbana-Champaign

Sterling 1 Room
Session: Theorizing Sound
“Water Sounds: Distance Swimmers and Ecomusicology,” Niko Higgins, Columbia University
“Telephone, Vacuum Cleaner, Couch: Senses and Sounds of the Everyday in Postwar Japan,” Miki Kaneda, Boston University
Discussant: Benjamin Tausig, Stony Brook University

SUNDAY, November 16

8:30 – 10:30 am

Birmingham Room
Session: Regulating Space, Regulating Sound: Musical Practice and Institutional Mediation in São Paulo, Brazil
*Sponsored by the Latin American and Caribbean Section
“Music under Control? São Paulo’s Anti-Noise Agency in Action,” Leonardo Cardoso, University of Texas at Austin
“Music Producers in São Paulo’s Cultural Policy Worlds,” Daniel Gough, University of Chicago
“’Small Universes’: The Creation of Social Intimacy through Aesthetic Infrastructures in São Paulo’s Underground,” Shannon Garland, Columbia University
Discussant, Morgan Lurker, Reed College

Heinz Room
“Hear What You Want: Sonic Politics, Blackness, and Racism-Canceling Headphones,” Alex Blue, University of California, Santa Barbara

Alleghany Room
“Sound and Silence in Festivals of the French Revolution: Sonic Analysis in History,” Rebecca D. Geoffroy-Schwinden, Duke University

10:45 am – 12:15 pm

Liberty Room
Session: Sounding Nations
“Building the Future through the Past: The Revival Movement in Iranian Classical Music and the Reconstruction of National Identity in the 1960s and the 1970s,” Hadi Milanloo, Memorial University of Newfoundland
“Sounding Citizenship in Southern Africa: Malawian Musicians and the Social Worlds of Recording Studios and Music Education Centers,” Richard M. Deja, University of Illinois
“Unity in (Spite of) Diversity: Tensions and Contradictions in Performing Surinamese National Identity,” Corinna S. Campbell, Williams College

"Music" by Flickr user Rich McPeek, CC BY-NC 2.0

“Music” by Flickr user Rich McPeek, CC BY-NC 2.0

Sound at ASA 2014

big boom bike

The 2014 American Studies Association meeting will be held in Los Angeles, an appropriate setting for this year’s theme, “Fun and the Fury: Dialectics of Pleasure and Pain in the Post-American Century.” The conference, which will take place from November 6-9, will offer panels of interest to Sound Studies scholars. The City of Angels has long served as a muse for artists and thinkers interested in creating innovative worlds. Los Angeles is a place of experimentation and futuristic transformation, or as Norman Mailer called it, a constellation of plastic. Part of Mexico until 1848, Los Angeles is a global metropolis that embodies the keen contradictions of national and capital in the 21st century, often exposing the nuts and bolts that hold together these structures. Fun, fury, and the “dialectics of pleasure and pain” are useful for conceptualizing the sharp contrasts that characterize the city of LA itself. A panel on Sunday, Central Avenue Breakdown: Gender, Race, and Coming of Age in a Los Angeles Jazz Community, will discuss the historical complexities of the city of Los Angeles by way of the African American entertainment district of Central Avenue (Sunday 2:00-3:45).

This year’s ASA program features an increase in sound and music-related papers in comparison to last year’s conference in Washington, D.C., which was concerned with the logic of debt. The upswing is partially due to the 2014 theme, which emphasizes the production of alternative spaces that counter repressive forces. As the program committee, comprised of co-chairs J. Jack Halberstam, Fred Moten, and Sandra Soto, writes, “The critical power of ‘fun’ in this unconventional convention theme seeks nothing less than the reimagining of possibility, impossibility, probability and freedom.” Sound Studies is already geared toward thinking about how careful listening can offer new ways of being-in-the-world, so the increase in music-themed panels this year is not surprising. As music scholars and listeners have long insisted, music is foundational to embodied experiences of pleasure and fun. Music’s ability to transport listeners and to cultivate collectivity makes it uniquely relevant to discussions of pleasure.

"So Much Noise" by Flickr user Doran, CC BY-NC-ND 2.0 http://www.flickr.com/photos/dopey/9260000239

“So Much Noise” by Flickr user Doran, CC BY-NC-ND 2.0

One notable exception to the musical focus is the second of the two ASA Sound Studies Caucus panels, “The Racial Politics of Listening: ‘Accents,’ Hate Speech, and Language in the U.S. Media,” which will take place on Saturday from 2:00-3:45. Featuring Dolores Inés Casillas, Sara Hinojos, Marci McMahon, and SO! Editor-in-Chief, Jennifer Stoever, The panel will examine the role of speech and auditory cues in constructing racial representations. An individual paper by Craig Eley in the Environment and Culture Caucus panel Ecologies of Pleasure and Pain: Deviance, Destruction and Desire in Environmental History, entitled Psychologically Ultimate Seashores: Natural Sound, Personal Pleasure, and Recording Technologies is also worth mentioning (Sunday 10:00-11:45).

This year’s call for papers asked for participants to formulate creative modes for presenting their work, and Sound Studies scholars are stepping up. The first panel hosted by the ASA Sound Studies Caucus (Saturday 10:00-11:45) is an exciting listening dialogue entitled “Power Ballads and Blurred Lines: Songs from the Boundaries of Fun.” The commentators, Jeff Chang, Alice Echols, Evelyn McDonnell, Oliver Wang, and Rubén Martinez, will each play a song and discuss how pop music that is treated as harmless fun may nevertheless speak to social dynamics in real and important ways. A roundtable on Music, Fashion and the Power of (Queer) Nightlife (Friday 12:00-1:45) will include scholars of nightlife as well as party promoters and DJs, discussing the possibility for belonging in subcultural “nightworlds.”

"Hotel Bonaventure" by Flickr user S. N. Johnson-Roehr, CC BY-NC 2.0

“Hotel Bonaventure” by Flickr user S. N. Johnson-Roehr, CC BY-NC 2.0

This year there are a number of notable African American Studies panels, including After the Rain: Vanguardist Jazz in the Seventies (Thursday 10:00-11:45) organized in memory of Amiri Baraka, Stomp, Swerve, Rattle, and Roll: Fun and Pleasure as Political Resistance in American Blues Music (Thursday 4:00-5:45), What Words Can’t Do: Instrumentals, Identity, and Interpretation (Sunday 10:00-11:45), and Pleasure, Pain, Politics, and Performance: Black Women Artists and Their Fans (Sunday 12:00-1:45). The category of pleasure provides a framework for panels on The Aesthetics of Pleasure in California Funk (Sunday 10:00-11:45) and Performative Pleasures of Blackness: The Creation, Consumption, and Conflict of Pleasurable Blacknesses. Sound scholars also continue to investigate transnational modes of listening, in panels such as The Transnational Movements of Hip-Hop (Thursday 12:00-1:45), Fugitive Preludes: Chicana/o Popular Music and the Neoliberal City (Friday 10:00-11:45), and Performing Decolonial Aesthetics and the Politics of Pain and Pleasure in Music Across the Americas (Friday 12:00-1:45).

Two years ago, Jennifer Stoever mentioned that work in the field of Sound Studies was entering a period of reflection and becoming more nuanced and robust with sub-fields starting to develop. It is clear from this year’s program that the field is both broadening and deepening its focus. After two years of official recognition under the ASA Sound Studies Caucus and three years after the publication of Sound Clash, the special issue of American Quarterly, scholarship on sound in American Studies is developing in a myriad of ways and is coming into its own as a field.

Jump to THURSDAY, November 6
Jump to FRIDAY, November 7
Jump to SATURDAY, November 8
Jump to SUNDAY, November 9

Featured image: “Carmaheaven” by Flickr user waltarrrrr, CC BY-NC-ND 2.0

Please comment to let SO! know what you think–both before and after ASA 2013.  If we somehow missed you or your panel in this round up, please let our Managing Editor know!: lms@soundingoutblog.com

Meghan Drury is a fifth-year Ph.D. candidate in the Department of American Studies at the George Washington University. She received an MA in ethnomusicology from UC Riverside in 2006. She is currently working on a dissertation tentatively titled “Aural Exotics: The Middle East in American Popular Music 1950-2011.” This project examines the interplay between popular music and American cultural representations of the Middle East from the mid-20th century to the present, illustrating how music and sound acted a means of consolidating and disseminating a range of ideas about Middle Eastern culture in the American mainstream. She is particularly interested in the way that sound increased the visibility of Arab Americans both before and after 9/11, offering a space for negotiations of identity. More broadly, Meghan’s interests include sound studies, U.S.-Middle East cultural relations, and Arab American cultural performance. 

 

"Echo Park September 2010" by Flickr user Calvin Fleming

“Echo Park September 2010″ by Flickr user Calvin Fleming

THURSDAY, November 6th, 2014

8:00 am – 9:45 am

Religiosity and Altered States
Westin Bonaventure, Los Feliz (L1)

—Richard Cullen Rath, University of Hawai’i, Manoa (HI)
Dangerous Fun in Puritan New England: Mary Ross and the Singing Quakers

Riots, Radios, and the Historical Record: Mass Media and Crisis in Twentieth American Literature and Art
Westin Bonaventure, San Bernardino (L1)

—Hadji Bakara, University of Chicago (IL)
Guernica on the Radio: Anti-Fascism, Mass Media, and the Emergence of Human Rights Activism

.

10:00 am – 11:45 am

Playing with Rules: Having Fun and Keeping Order in Mid-Century Racial Liberalism
Westin Bonaventure, San Fernando (L1)

—Yusuke Torii, Setsunan University (Japan)
S. I. Hayakawa’s Jazz Credentials and Racial Liberalism in Mid-Century America

—Masayoshi Yamada, Doshisha University (Japan)
Jazz, Fans, and the Pleasure of Listening during Turbulent Times

.

After the Rain: Vanguardist Jazz in the Seventies (in memory of Amiri Baraka)
Westin Bonaventure, San Gabriel C (L1)

CHAIR:
Ronald Radano, University of Wisconsin, Madison (WI)

PAPERS:
Paul A. Anderson, University of Michigan, Ann Arbor (MI)
“Thunder Blossoms Gorgeously”: Abstracting the Pastoral in Marion Brown’s Georgia Trilogy

Robert Maclean, The College of Wooster (OH)
Ensemble After Eventuality: Neoliberalism and the Duo Form

Brent Hayes Edwards, Columbia University (NY)
Notes Toward a “Loft” History of Jazz

COMMENT:
Ronald Radano, University of Wisconsin, Madison (WI)

.

12:00 pm – 1:45 pm

Fun in Public: The Cultures of Amateur Labor
Westin Bonaventure, Palos Verdes (L1)

—Alexander W. Corey, University of Colorado, Boulder (CO)
Impulsive Triads: Frédéric Chopin, Amateur Pianists, and The Autobiography of an Ex-Colored Man

.

The Transnational Movements of Hip-Hop
Westin Bonaventure, Santa Monica D (L3)

CHAIR:
Alexander Weheliye, Northwestern University (IL)

PAPERS:
Lenna Tayseer Odeh, University of California, San Diego (CA)
Acts of Sumud: Exploits of Resistance Through the Palestinian Hip-Hop Youth and Political Prisoner Movements

Najwa Mayer, Yale University (CT)
Muhammad was a punk rocker: Seeking Faith, Fun, and Form in Taqwacore

Elliott H. Powell, University of Minnesota, Twin Cities (MN)
The Sounds of Afro-South Asian Pleasure: Hip Hop, 9/11, and South-South Connections

Halifu Osumare, University of California, Davis (CA)
Play and Pain in Black Atlantic Hip-Hop: Hiplife in Ghana as Case Study

COMMENT:
Alexander Weheliye, Northwestern University (IL)

.

2:00 pm – 3:45 pm

alt. Black Musical History
Westin Bonaventure, San Gabriel C (L1)

CHAIR:
Courtney Michael Brown, California State University, Fullerton (CA)

PAPERS:
Matthew Hayden Anthony, Pennsylvania State University, Harrisburg (PA)
I Got Country Roots: Race, Identity and Black Country Singers in the 1970s

Kreg Abshire, Johnson & Wales University (CO)
On Sonic Nostalgia: Making Sense of alt.country’s Hip Traditionalism

Keith D. Leonard, American University (DC)
Who Stole the Soul: An Avant-Garde History of the Dark Room Collective

Christa Holm Vogelius, University of Alabama, Tuscaloosa (AL)
The Jennie C. Lee Archive and the Silent Musical History of the Tuskegee Institute

COMMENT:
Courtney Michael Brown, California State University, Fullerton (CA)

.

The Choreography of Protest
Westin Bonaventure, Santa Barbara B (L1)

—Sarah Ehlers, University of Houston (TX)
The Joys of the Picket Line: Reading the Rhythms of the Left

—Robert Michael Zecker, Saint Francis Xavier University (Canada)
A Mandolin Orchestra Could Attract a Lot of Attention: Interracial Fun with Radical Immigrants, 1930–1954

.

Empire of Funk: Hip Hop and Representation in Filipina/o America—A Roundtable
Westin Bonaventure, Santa Barbara C (L1)

CHAIR:
Dawn Bohulano Mabalon, San Francisco State University (CA)

PANELISTS:
Roderick Labrador, University of Hawai’i, Manoa (HI)
Mark Villegas, University of California, Irvine (CA)
Mario “Nomi” De Mira, Artist
Stephen Bischoff, Washington State University, Pullman (WA)

COMMENT:
Dawn Bohulano Mabalon, San Francisco State University (CA)

.

On Athletes and Outlaws: Asian Americans in Popular Culture and the Pleasures of Recognition
Westin Bonaventure, Santa Monica C (L3)

—Douglas S. Ishii, University of Maryland, College Park (MD)
Not about race, per se: Dave Boyle’s Asian American Music Film

.

4:00 pm – 5:45 pm

Love and Rage: Cultural Strategies in Postwar U.S. Anarchism
Westin Bonaventure, San Bernardino (L1)

—Shon MeckFessel, University of Washington, Seattle (WA)
From a Disavowal of Commitment to a Commitment of Disavowal: (Non)Left Positionalities in 1980s Post-Punk and Anarchy-Punk

.

Alternative Economies of Pleasure in Contemporary Southern Working-Class Cultures
Westin Bonaventure, San Pedro (L1)

—Nicholas Neil Gorrell, University of Mississippi (MS)
Economies of Scarcity and Abundance in Contemporary Southern Blues

—Anne Gessler, University of Texas, Austin (TX)
Second Lines, Creative Economies, and Gentrification: Music Cooperatives in Post-Katrina New Orleans

.

Stomp, Swerve, Rattle, and Roll: Fun and Pleasure as Political Resistance in American Blues Music
Westin Bonaventure, Santa Monica A (L3)

CHAIR:
Daphne Brooks, Yale University (CT)

PAPERS:
Mark Anthony Neal, Duke University (NC)
“Let Me Bang Your Box”: The “Erotic Life” of the Blues

Sonnet Retman, University of Washington, Seattle (WA)
Memphis Minnie’s Jukebox Blues

Kimberly Mack, University of California, Los Angeles (CA)
“That Natural Blues Man Look”: Black Elvis and the Demythologization of the Black Blues Figure

R. J. Smith, Independent Scholar
Calling All Freaks!: The Licentious Blues Spirit of the Rent Party and the Buffet Flat

COMMENT:
Adam Gussow, University of Mississippi (MS)

.

**Wildness: The Fun and the Fury of Anarchy**
Westin Bonaventure, San Gabriel C (L1)

CHAIR:
Mel Y. Chen, University of California, Berkeley (CA)

PAPERS:
Peter Coviello, Bowdoin College (ME)
The Wild Less Than the Good: Erotics and Biopolitics in Thoreau

Jack Halberstam, University of Southern California (CA)
‘Wildness at the End of the World’

Tavia Nyong’o, New York University (NY)
William Blake’s Wild America

COMMENT:
Mel Y. Chen, University of California, Berkeley (CA)

.

"Busker (street musician) #2" by Flickr user Sunny Lapin, CC BY-NC-SA 2.0

“Busker (street musician) #2″ by Flickr user Sunny Lapin, CC BY-NC-SA 2.0

FRIDAY, November 7th

8:00 am – 9:45 am

Feeling Queer
Westin Bonaventure, San Gabriel B (L1)

—Elias Krell, Northwestern University (IL)
Mixing Sound: Technologies of Fem(me)ninity and Mixed Race in Kelly Moe

.

Life-Writing, Musical Lives
Westin Bonaventure, San Gabriel C (L1)

CHAIR:
Ulrich Adelt, University of Wyoming (WY)

PAPERS:
Nassim Winnie Balestrini, Karl-Franzens-University (Austria)
Fun, Fury, Fans: Affective Strategies in Intermedial Hip-Hop Life Writing

Mercy Romero, Sonoma State University (CA)
Two Lives in Music

Petra Rivera-Rideau, Virginia Polytechnic Institute and State University (VA)
The Pleasures and Pains of Love: Listening to La Lupe and Ivy Queen

Jessica Elaine Teague, University of Nevada–Las Vegas (NV)
Charles Mingus and the Serious Fun of Jazz Autobiography

COMMENT:
Ulrich Adelt, University of Wyoming (WY)

.

**Caucus: War and Peace Studies: Reconsidering the ‘R and R’: Dialectics of Violence and Pleasure in Militarism**
Westin Bonaventure, Santa Anita B (L1)

—Patricia Stuelke, University of Massachusetts, Boston (MA)
You’re a Criminal as Long as You’re Mind: The U.S. Invasion of Panama and the Sounds of Bad Romance

.

**ASA Program Committee: Uncontrolled Substances/Altered States**

Westin Bonaventure, Level 1, San Bernadino

—Josh Kun, University of Southern California (CA)
The Musical Más Allá: Narco/Necro/Anarco

.

10:00 am – 11:45 am

Fugitive Preludes: Chicana/o Popular Music and the Neoliberal City
Westin Bonaventure, San Gabriel C (L1)

CHAIR:
Christina Zanfagna, Santa Clara University (CA)

PAPERS:
Wanda Alarcón, University of California, Berkeley (CA)
Variations on a Theme: Performing América on the National Stage

Jonathan Gomez, University of California, Santa Barbara (CA)
Teen Post to Rainbow Alley: Facing Unexpectancy with Unexpectant Punk Rock Social Spaces

Kurt Newman, University of California, Santa Barbara (CA)
Undoing the Math: Chingo Bling, the “Not-All,” and the Politics of Parody

COMMENT:
Christina Zanfagna, Santa Clara University (CA)

.

Willful Subjects: Action, Agency, and Politics
Westin Bonaventure, San Anita B (L1)

—Neil Roberts, Williams College (MA)
It’s Bigger than Hip Hop: Decoding the Trayvon Martin Event

.

12:00 pm – 1:45 pm

Music, Fashion and the Power of (Queer) Nightlife
Westin Bonaventure, Los Cerritos (L1)

CHAIR:
Madison Moore, King’s College London (England)

PANELISTS:
Ananya Jahanara Kabir, King’s College London (England)
Matthew D. Morrison, Columbia University (NY)
Victor P. Corona, Fashion Institute of Technology (NY)
Gregory Alexander, Artist
Loren Granic, Artist
Amy Cakes Danky Dank, Artist

.

High on Crack: Surveillance, Loss and Addiction in Black Communities
Westin Bonaventure, San Fernando (L1)

—Andreana Clay, San Francisco State University (CA)
“Kick in the Bass”: Sonic Navigation of Pleasure and Pain in Crack Lyrics

.

Performing Decolonial Aesthetics and the Politics of Pain and Pleasure in Music Across the Americas
Westin Bonaventure, San Pedro (L1)

CHAIR:
Jaime Cardenas, Seattle Central Community College (WA)

PAPERS:
Marie “Keta” Miranda, University of Texas, San Antonio (TX)
Polka Dawgs: Tejana/o Dance as Pleasure in Response to Racial and Class Subordination

Marco Cervantes, University of Texas, San Antonio (TX)
Third Root Poetics Through Hip Hop Aesthetics: Performative Autoethnographies and Musical Empowerment

COMMENT:
Jaime Cardenas, Seattle Central Community College (WA)

.

2:00 pm – 3:45 pm

Twelve Years a Slave: Sounds and Spectacles of Slavery
Westin Bonaventure, Santa Anita A (L1)

—Paul Fess, City University of New York, Graduate Center (NY)
“The most excruciating noise”: Power Structures of Music in Solomon Northup’s Twelve Years a Slave

.

4:00 pm – 5:45 pm

Bittersweet: Remaking the Exhibit “American Sabor: Latinos in U.S. Popular Music” for the Smithsonian Institution
Westin Bonaventure, San Gabriel A (L1)

CHAIR:
Juan Flores, New York University (NY)

PANELISTS:
Marisol Berrios Miranda, Independent Scholar
Shannon Dudley, University of Washington, Seattle (WA)
Njoroge Njoroge, University of Hawai’i, Manoa (HI)
Victor Hugo Viesca, California State University, Los Angeles (CA)

.

We’re Listening: Surveillance Technologies and Non-Private Publics
Westin Bonaventure, Santa Monica B (L3)

CHAIR:
Gus Stadler, Haverford College (PA)

PAPERS:
Andrew Hamsher, University of Texas, Austin (TX)
Controlling Fantasyland: Surveillance and Freedom in Transmedia Storyworlds

Jason Farman, University of Maryland, College Park (MD)
Creative Misuse as Resistance: Surveillance, Mobile Technologies, and Locative Games

Brian Hochman, Georgetown University (DC)
Eavesdrop Nation: The Rise of ‘Private Ear’ Wiretap, 1959-1974

Stephen Knadler, Spelman College (GA)
Kerry’s OMG Washington: Re-Scandalizing Racial Surveillance in the Obama Era

.

"2nd Street Tunnel, Los Angeles -- Dec 30, 2010" by Flickr user Ray_from-LA, CC BY 2.0

“2nd Street Tunnel, Los Angeles — Dec 30, 2010″ by Flickr user Ray_from-LA, CC BY 2.0

SATURDAY, November 8th

8:00 am – 9:45 am

Indigeneity and Difference
Westin Bonaventure, Santa Barbara B (L1)

Elizabeth Sine, University of California, San Diego (CA)
Native Jazz: Radical Multiraciality and the Politics of Desire in an Age of Global Crisis

.

10:00 am – 11:45 am

Caucus: Sound Studies: Power Ballads and Blurred Lines: Songs from the Boundaries of Fun
Westin Bonaventure, Santa Barbara C (L1)

CHAIR:
Eric Weisbard, University of Alabama, Tuscaloosa (AL)

PANELISTS:
Jeff Chang, Stanford University (CA)
Alice Echols, University of Southern California (CA)
Evelyn McDonnell, Loyola Marymount University (CA)
Oliver Wang, California State University, Long Beach (CA)
Rubén Martínez, Loyola Marymount University (CA)

.

2:00 pm – 3:45 pm

Caucus: Sound Studies: The Racial Politics of Listening: “Accents,” Hate Speech, and Language in the U.S. Media
Westin Bonaventure, San Fernando (L1)

CHAIR:
Isabel Molina-Guzman, University of Illinois, Urbana-Champaign (IL)

PAPERS:
Sara Veronica Hinojos, University of California, Santa Barbara (CA)
Reading Lupe Vélez, Mexicanness, and Her Fiery “Accent”

Dolores Inés Casillas, University of California, Santa Barbara (CA)
Inglés Sin Barreras, Rosetta Stone, and the Politics of Language Learning

Marci McMahon, University of Texas, Pan American (TX)
Staging the Sound of Citizenship in Josefina Lopez’s Detained in the Desert

Jennifer Stoever-Ackerman, State University of New York, Binghamton (NY)
“You. Got. To. Un. Der. Stand”: Rachel Jeantel, “Reasonable” Listening, and the Sonic Color-line

COMMENT:
Isabel Molina-Guzman, University of Illinois, Urbana-Champaign (IL)

.

To Be Young, Global, and Black: The Global Circulations of Blackness and Americanness
Westin Bonaventure, San Pedro (L1)

CHAIR:
Jeff K. Chang, Stanford University (CA)

PAPERS:
—Samir Meghelli, University of Illinois, Urbana-Champaign (IL)
Rapping and Race-ing Across the Atlantic: Hip Hop and Racial Politics in Postcolonial France

—H. Samy Alim, Stanford University (CA), Shaheen Ariefdien, Independent Scholar (South Africa)
Whaddup, San?: Hip Hop, “Colouredness,” and the Construction of Khoisan Identity in Post-Apartheid South Africa

.

4:00 pm – 5:45 pm

Racial Meanings and Musical Performance in Film: Uses of Folk, Calypso, and Jazz in Films, 1944–1965
Westin Bonaventure, Beaudry B (L1)

CHAIR:
Kevin Gaines, University of Michigan, Ann Arbor (MI)

PAPERS:
Geoffrey Jacques, Independent Scholar
Jazz, Film, and the Black Hipster

Shane Vogel, Indiana University–Bloomington (IN)
Trinidad Goes Hollywood: The Ersatz Epistemology of the Calypso Craze

Judith E. Smith, University of Massachusetts, Boston (MA)
Using, and Being Used by Hollywood: Harry Belafonte on Film, 1953–1959

Jacqueline Stewart, University of Chicago (IL)
The Cry of Jazz and The Corner: Filming Music of Everyday Black Life in Chicago

COMMENT:
Kevin Gaines, University of Michigan, Ann Arbor (MI)

.

Liberating Encounters: Cultural Consumption as Agent of Pleasure and Social Change in Contemporary Asian, Latin-American, and U.S. Popular Culture
Westin Bonaventure, San Fernando (L1)

—Patty Ahn, University of Southern California (CA)
Detours of Indebtedness: South Korean Pop Music and Neoliberal Logics of Race

.

Arab Worlds: Then and Now
Westin Bonaventure, Santa Monica C (L3)

—Meghan E. Drury, George Washington University (DC)
The Belly of the Wail: Feminism and Arab Hybridity in 1990s World Music

.

"Capitol Records Building" by Flickr user Wieland Van Dijk, CC BY-ND-SA 2.0

“Capitol Records Building” by Flickr user Wieland Van Dijk, CC BY-ND-SA 2.0

SUNDAY, November 9th

8:00 am – 9:45 am

Sports, Sex, and Music across the Pacific during the Cold War
Westin Bonaventure, Beaudry B (L1)

—Mari Yoshihara, University of Hawai’i, Manoa (HI)
Lenny Blows Up the World: Classical Musicians Play the Cold War

.

Sonics of Black Excess, 1940s to 1980s
Westin Bonaventure, Los Cerritos (L1)

CHAIR:
Imani D. Owens, Princeton University (NJ)

PAPERS:
Brian Lefresne, University of Guelph Canada
A Fool in Space: Sun Ra the Jester at the Carnival

Charles McGovern, College of William and Mary (VA)
I Want a Lavender Cadillac: Fun, Excess and Labor in Black Popular Music, 1940–1970

Terrion L. Williamson, Michigan State University (MI)
Im Not Your Superwoman: Black Female Embodiment and the Sites of Social Intimacy

Brian Edward Jones, College of William and Mary (VA)
Big Fun with the Prince of Darkness: Miles Davis and the Death of the American Dream

COMMENT:
Imani D. Owens, Princeton University (NJ)

.

10:00 am – 11:45 am

What Words Can’t Do: Instrumentals, Identity, and Interpretation
Westin Bonaventure, Los Cerritos (L1)

CHAIR:
Shana L. Redmond, University of Southern California (CA)

PANELISTS:
Shana L. Redmond, University of Southern California (CA)
Tsitsi Jaji, University of Pennsylvania (PA)
Guthrie Ramsey, Jr., University of Pennsylvania (PA)
Tamara Roberts, University of California, Berkeley (CA)

.

The Pleasures and Pains of Hip Hop Listening: New Aesthetic Approaches
Westin Bonaventure, San Bernardino (L1)

CHAIRS:
Jill Toliver Richardson, City University of New York, Borough of Manhattan Community College (NY)

James Ford, Occidental College (CA)

PAPER:
Karen Jaime, University of Illinois, Urbana-Champaign (IL), Jonathan Gray, City University of New York, John Jay College of Criminal Justice (NY), Candice Jenkins, City University of New York, Hunter College (NY), James Ford, Occidental College (CA)
The Pleasures and Pains of Hip Hop Listening: New Aesthetic Approaches

COMMENT:
Michael Jeffries, Wellesley College (MA)

.

“All the Way Live”: The Aesthetics of Pleasure in California Funk
Westin Bonaventure, Santa Barbara C (L1)

CHAIR:
Laura Harris, Pitzer College (CA)

PAPERS:
Scot Brown, University of California, Los Angeles (CA)
“All the Way Live”: The Live Funk Aesthetic of Lakeside

Cheryl L. Keyes, University of California, Los Angeles (CA)
From Mademoiselle Mabry to Betty Davis: The Reigning Funk Diva from the Underground

Tony Bolden, University of Kansas (KS)
Are You Funkified?: The Choreopoetics of Pleasure in the Music of Sly and the Family Stone

COMMENT:
Laura Harris, Pitzer College (CA)

.

**Caucus: Environment and Culture: Ecologies of Pleasure and Pain: Deviance, Destruction, and Desire in Environmental History**
Westin Bonaventure, Santa Barbara A (L1)

—Craig Eley, University of Wisconsin, Madison
Psychologically Ultimate Seashores: Natural Sound, Personal Pleasure, and Recording Technologies

.

12:00 pm – 1:45 pm

Pleasure, Pain, Politics, and Performance: Black Women Artists and Their Fans
Westin Bonaventure, Palos Verdes (L1)

CHAIR:
Gayle Wald, George Washington University (DC)

PANELISTS:
Ruth Feldstein, Rutgers University, Newark (NJ)
Emily Lordi, University of Massachusetts, Amherst (MA)
Cherise Smith, University of Texas, Austin (TX)
Gayle Wald, George Washington University (DC)

.

Performative Pleasures of Blackness: The Creation, Consumption, and Conflict of Pleasureable Blacknesses
Westin Bonaventure, San Fernando (L1)

—Danielle C. Heard, University of California, Davis (CA)
Feeling Good: Nina Simone and the Pleasures of Live Performance, Montreux 1976

—Scott Poulson-Bryant, Harvard University (MA)
The ‘Unruly Delights’ of the Great Black Way: Contradiction, Pleasure and Black Musicals of the 1970s

.

Can Black Women Have Fun?: Beyond Mammies and Martyrs
Westin Bonaventure, San Gabriel A (L1)

—Margo Crawford, Cornell University (NY)
Erykah Badu’s Black Fantastic Re-invigoration of Black Cultural Nationalism

.

2:00 pm – 3:45 pm

Central Avenue Breakdown: Gender, Race, and Coming of Age in a Los Angeles Jazz Community
Westin Bonaventure, Beaudry B (L1)

CHAIR:
Farah Jasmine Griffin, Columbia University (NY)

PAPERS:
Maxine Gordon, Fordham University (NY)
Dexter Gordon and Melba Liston: The ‘Mischievous Lady Session’, June 5, 1947, Dial Records

Monica Hairston-O’Connell, Columbia College (IL), Sherrie Tucker, University of Kansas (KS)
Revisiting Central Avenue through Melba Liston’s Oral Histories

Nichole T. Rustin, Independent Scholar
Playing with Dynamics: Racialized Masculinity, Jazz, and Coming of Age on 1940s Central Avenue

COMMENT:
Farah Jasmine Griffin, Columbia University (NY)

.

What Beyoncé (and Her Stans) Can Teach Us About The Pleasures of Intersectional Identity
Westin Bonaventure, Santa Barbara A (L1)

CHAIR:
Deborah Paredez, University of Texas, Austin (TX)

PANELISTS:
Clare Croft, University of Michigan, Ann Arbor (MI)
Micah Salkind, Brown University (RI)
Kristen Warner, University of Alabama, Tuscaloosa (AL)
Chelsea Bullock, University of Oregon (OR)
Deborah Paredez, University of Texas, Austin (TX)

.

"DSCN9630" by Flickr user Carsten Titibach, CC BY 2.0

“DSCN9630″ by Flickr user Carsten Titibach, CC BY 2.0

%d bloggers like this: