Toru Mitsui goes into retirement

Popular Music ◽  
2006 ◽  
Vol 25 (2) ◽  
pp. 323-329
Author(s):  
Shuhei Hosokawa
Keyword(s):  
Popular Music ◽  
International Association ◽  
Good Opportunity ◽  
Popular Music Studies ◽  
Look Back ◽  
The University

For the readers of Popular Music, the name of Toru Mitsui is associated with the ‘Booklist’, a column he was in charge of from 1989 to 2002. For many members of the International Association for the Study of Popular Music, the meeting he organised in Kanazawa in 1997 is unforgettable. For scholars and students interested in Japanese popular music, his numerous articles in English are the first references to be read. Last March (2005) Professor Mitsui retired from Kanazawa University, where he had taught since 1969. To commemorate his retirement, a Festschrift entitled Popular Music and Academia (2005b) was published in coordination with a symposium held at the University of Tokyo in May 2004. This is a good opportunity to look back over his prolific career in popular music studies.

International Association for the Study of Popular Music (UK Branch) 2000 Conference

Popular Music ◽  
2001 ◽  
Vol 20 (2) ◽  
pp. 263-274
Author(s):  
Peter Symon
Keyword(s):  
Popular Music ◽  
International Association ◽  
Popular Music Studies ◽  
Working Lives ◽  
The Media ◽  
Media Politics ◽  
State Of Affairs ◽  
The Uk ◽  
The University

For some reason, the working lives of music makers are not often given the attention in popular music studies which might be expected. The launch of the UK Year of the Artist – celebrating the role of artists in society – immediately before the 2000 conference of the UK branch of the International Association for the Study of Popular Music (IASPM), meant that it was especially timely, then, for the IASPM event to address this state of affairs. The conference, The Popular Musician: Performance, Poetics, Power, was held at the University of Surrey, 7–9 July 2000, and took as its central theme the position of musicians – in the music industry, in relation to fans and audiences and in the media, politics and society.

The Göteborg connection: lessons in the history and politics of popular music education and research

Popular Music ◽  
1998 ◽  
Vol 17 (2) ◽  
pp. 219-242 ◽  
Author(s):  
Philip Tagg
Keyword(s):  
Music Education ◽  
Popular Music ◽  
Social Issues ◽  
International Association ◽  
Turn Of The Millennium ◽  
Popular Music Studies ◽  
Wide Range ◽  
Media Hegemony ◽  
Work Education ◽  
Political Economic

BothPopular Musicand the International Association for the Study of Popular Music (IASPM) have been in existence for almost a generation. Given the radical social and political changes affecting the general spheres of work, education and research since the establishment of those two institutions in 1981, it is perhaps time for popular music scholars to review their own historical position and to work out strategies for the brave new world of monetarism facing those who will hopefully survive another generation after we quinquagenarian baby boomers of the rock era have disappeared from the academic scene. Of course, such a process of intellectual and ideological stocktaking requires detailed discussion of a wide range of political, economic and social issues that cannot be covered in a single article. I will therefore restrict the account that follows to a discussion of one particular set of historical strands affecting the development of popular music studies. This part of our history is virtually unknown in the anglophone quarters that have, for obvious reasons of language and music media hegemony, dominated the international field of popular music studies. It is, however, as I hope to show, a story of considerable relevance to more general problems of music education and research at the turn of the millennium. I shall return to these broader issues at the end of the article.

Music, culture and interdisciplinarity: reflections on relationships

Popular Music ◽  
1994 ◽  
Vol 13 (2) ◽  
pp. 127-141 ◽  
Author(s):  
John Shepherd
Keyword(s):  
Graduate Students ◽  
Popular Music ◽  
Institutional Environment ◽  
Special Issue ◽  
Music Culture ◽  
Intellectual Tradition ◽  
Popular Music Studies ◽  
The University ◽  
Department Of Music ◽  
Academic Study

This special issue of Popular Music honours the contribution of a distinguished musicologist to the study of popular music. It was Wilfrid Mellers who, together with Charles Hamm, pioneered the study of popular music as a respectable undertaking within musicology before popular music studies itself began to become a continuing and critical intellectual tradition in the late 1970s. As with Charles Hamm, Wilfrid Mellers' contribution to the study of popular music has not been restricted to scholarship alone. As founding Chair of the Department of Music at the University of York, Wilfrid Mellers created an intellectual and institutional environment within which it was possible for undergraduate and graduate students alike to undertake the serious academic study of popular music. Without this environment it is possible that the careers both of Richard Middleton and myself would have turned out differently.

Orchestral Manoeuvres in the 1970s: l’Orchestra Co-operative, 1974–1983

Popular Music ◽  
2007 ◽  
Vol 26 (3) ◽  
pp. 409-427 ◽  
Author(s):  
FRANCO FABBRI
Keyword(s):  
Music Education ◽  
Popular Music ◽  
International Association ◽  
Ideological Criticism ◽  
Avant Garde ◽  
Popular Music Studies ◽  
Social Centre ◽  
Record Company

AbstractL’Orchestra, a cooperative established in 1974/75, based in Milan, Italy, was a unique organisation, involving musicians, sound and lighting engineers, music critics and teachers, and concert managers. It was started as a kind of artists’ union, a federation of folk, rock, political song, jazz, avant-garde groups, but in a few months it became a concert agency and a record company; it held music courses for amateurs and published music tutorials; it helped managing the first multipurpose art/social centre in Milan. L’Orchestra promoted studies along various disciplinary perspectives (sociology, music education, ideological criticism, semiotics) that in some respects embody and in others help explain the development of popular music studies and of the International Association for the Study of Popular Music (IASPM) in Italy.

16th and 17th Workshops of the International Association of Vegetation Science Working Group for the European Vegetation Survey (Rome, Italy, 22-26 March 2007; Brno, Czech Republic, 1-5 May 2008)

2008 ◽  
pp. 131-133
Author(s):  
T. M. Lysenko ◽  
Yu. A. Semenishchenkov
Keyword(s):  
Czech Republic ◽  
Working Group ◽  
International Association ◽  
Botanical Garden ◽  
European Countries ◽  
Vegetation Survey ◽  
Vegetation Science ◽  
The University ◽  
Science Working

22-26 March 2007 in Rome (Italy), in the Botanical garden of the University «La Sapienza» hosted the 16th meeting of the Working group «Review of the Vegetation of Europe» of the International Association of Vegetation Science (IAVS). These meetings are held every spring in one of the European countries and dedicated to various topics.

Introduction

Popular Music ◽  
2007 ◽  
Vol 26 (1) ◽  
pp. 1-4
Author(s):  
David Horn
Keyword(s):  
African American ◽  
Popular Music ◽  
International Association ◽  
Outstanding Contribution ◽  
Global Network ◽  
Founding Member ◽  
Vernacular Music ◽  
The World ◽  
Set Up

This issue of Popular Music is produced in honour of Paul Oliver, in recognition of his outstanding contribution to popular music scholarship.Paul was a member of the original Editorial Board for Popular Music when it was set up in 1980 and continued to serve as a member of that body, and subsequently of the Editorial Group, until 1990. He was also a founding member of the International Association for the Study of Popular Music and has maintained a keen interest in the organisation, continuing to attend, and speak at, its international conferences. His vision of both the potential and the needs of the Association as a global network lay behind his proposal in 1985 that a project be undertaken to compile a worldwide encyclopedia of popular music, an idea which subsequently bore fruit in EPMOW (The Encyclopedia of Popular Music of the World). All these achievements are worth celebrating in themselves, but it is Paul's outstanding contribution to scholarship in the area of vernacular – particularly African-American vernacular – music that we wish to honour with this issue.

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