ABOUT THE CONFERENCE
Since the dawn of the internet, and its attendant communities and cultures, the way we consume and share music has radically transformed. From older forms and formats such as the song and album to multimedia concept albums, long-form music video and transmedia projects rooted in popular music, there are now more ways in which narrativity can emerge in popular music than ever before.
This one day event provides a platform for exploring narrativity and storytelling across popular music and its interrelated media. We invite scholars of music and all narratological fields to open interdisciplinary dialogues about the unique textuality, processes and effects of popular music and how these can intersect with other media and modes.
Some key questions we hope to address during this event include:
We welcome participation from media scholars in all fields relating to narrativity, particularly those working in interdisciplinary areas, and look forward to seeing you on June 7,
Since the dawn of the internet, and its attendant communities and cultures, the way we consume and share music has radically transformed. From older forms and formats such as the song and album to multimedia concept albums, long-form music video and transmedia projects rooted in popular music, there are now more ways in which narrativity can emerge in popular music than ever before.
This one day event provides a platform for exploring narrativity and storytelling across popular music and its interrelated media. We invite scholars of music and all narratological fields to open interdisciplinary dialogues about the unique textuality, processes and effects of popular music and how these can intersect with other media and modes.
Some key questions we hope to address during this event include:
- How can popular music operate narratively in ways distinct from other narrative media such as film, television and literature?
- How has the organisation of sound through technology (e.g. studio-based production and mixing) created new parameters for expression, raising new opportunities to interrogate narrativity beyond lyrics or notated detail?
- How might worlding/world building function within popular music?
- What are the peculiarities of adaptation both into and from popular music?
We welcome participation from media scholars in all fields relating to narrativity, particularly those working in interdisciplinary areas, and look forward to seeing you on June 7,
CONFERENCE PROGRAMME
9.15 – 9.45 Registration
9.45 - 10.00 Welcome
10.00 - 10.45 Keynote
Very much excluded from this narrative? Agency in popular music (Professor Nicholas Reyland, RNCM)
10.45 - 11.00 Tea Break
11.00 – 12.25 PANEL 1: Trans-ing Narrativity
1. Popular Music, multimodality and narrativity in video games: the case of Vetusta Morla in Spain (Cande Sanchez-Olmos, University of Alicante)
2. Song Stories: Podcasting as Narrative Building for Creative Workers (Simon Barber, Birmingham City University)
3. Post-Euphoria and Afterglow in Music Production Practice(Guy Baron, London South Bank University)
12.25 - 13.20 Lunch Break
13.15 – 14.50 PANEL 2: Narrativity, Music Production and Listener Perception
1. Conveying Narrative Through the Mix (Jack Williams, Queensland University of Technology)
2. How do listeners perceive narrative songs? Report of a questionnaire among rock and folk fandoms (Marion Brachet, CRAL Paris)
3. Virtual auditory realities: popular music listening and embodied narrative (Iain Findlay-Walsh, University of Glasgow)
14.50 – 15.00 Tea Break
15.00 – 16.25 PANEL 3: Narrative Concepts and Strategies
1. “Something in the way [they] sing” Paralanguage and The Beatles (Bláithín Duggan, Trinity College, Dublin)
2. On Trolling Subjectivities and Deception Narratives in Scary Monsters And Nice Sprites by Skrillex (Edward Spencer, University of Oxford)
3. ‘Babymetal’ and the Narrative Construction of Resistance (Christopher Zysik, Paderborn University)
16.25 – 16.35 Tea Break
16.35 – 18.00 PANEL 4: Space, Place and Time Narratives
1. Psychogeography, hauntology and cultural representations of Ibiza (Simon A. Morrison, University of Chester)
2. From the post-war dream to Post-Traumatic Stress Disorder: Narrating the impact of war in Pink Floyd’s The Final Cut (Kathryn B. Cox, University of Michigan)
3. Ladies and gentlemen, it’s (not) The Beatles: Narrativity in tribute bands (Matthias Heyman, University of Antwerp)
18.00 Wine Reception
9.15 – 9.45 Registration
9.45 - 10.00 Welcome
10.00 - 10.45 Keynote
Very much excluded from this narrative? Agency in popular music (Professor Nicholas Reyland, RNCM)
10.45 - 11.00 Tea Break
11.00 – 12.25 PANEL 1: Trans-ing Narrativity
1. Popular Music, multimodality and narrativity in video games: the case of Vetusta Morla in Spain (Cande Sanchez-Olmos, University of Alicante)
2. Song Stories: Podcasting as Narrative Building for Creative Workers (Simon Barber, Birmingham City University)
3. Post-Euphoria and Afterglow in Music Production Practice(Guy Baron, London South Bank University)
12.25 - 13.20 Lunch Break
13.15 – 14.50 PANEL 2: Narrativity, Music Production and Listener Perception
1. Conveying Narrative Through the Mix (Jack Williams, Queensland University of Technology)
2. How do listeners perceive narrative songs? Report of a questionnaire among rock and folk fandoms (Marion Brachet, CRAL Paris)
3. Virtual auditory realities: popular music listening and embodied narrative (Iain Findlay-Walsh, University of Glasgow)
14.50 – 15.00 Tea Break
15.00 – 16.25 PANEL 3: Narrative Concepts and Strategies
1. “Something in the way [they] sing” Paralanguage and The Beatles (Bláithín Duggan, Trinity College, Dublin)
2. On Trolling Subjectivities and Deception Narratives in Scary Monsters And Nice Sprites by Skrillex (Edward Spencer, University of Oxford)
3. ‘Babymetal’ and the Narrative Construction of Resistance (Christopher Zysik, Paderborn University)
16.25 – 16.35 Tea Break
16.35 – 18.00 PANEL 4: Space, Place and Time Narratives
1. Psychogeography, hauntology and cultural representations of Ibiza (Simon A. Morrison, University of Chester)
2. From the post-war dream to Post-Traumatic Stress Disorder: Narrating the impact of war in Pink Floyd’s The Final Cut (Kathryn B. Cox, University of Michigan)
3. Ladies and gentlemen, it’s (not) The Beatles: Narrativity in tribute bands (Matthias Heyman, University of Antwerp)
18.00 Wine Reception