(Français en bas de page)

Venue, transport, accomodation

The conference will take place at Université Sorbonne Nouvelle, Campus Nation, 8 avenue de Saint-Mandé in Paris.
The closest metro stations are Nation and Picpus. The nearest public transport lines are RER A, Metro 1, 2, 6 and 9.
There are several airports around Paris: we recommend arriving through Paris Charles de Gaulle (CDG) or Paris Orly (ORY).
- From Charles de Gaulle, the RER B will bring you directly in Paris. Another option that might be more comfortable and less crowded depending on the time of the day is the RoissyBus (13€/ticket).
- From Orly, Metro 14 will get you into Paris.
There are many possible accommodation sites around the university, including traditional hotels, rentals, but also hostels (The People Paris Nation, one block away from the conference site, and Joe&Joe Paris Nation) if you are looking for a more affordable option.
Do not hesitate to also look for accommodation close to other stations on these lines, especially going East on RER A or Metro line 1, even if it is not inner Paris anymore. Map of Parisian public transportation

Presentation

Recording played a central role in the establishment of the field of popular music research in the 1970s and 1980s: at a time when popular music studies was gaining traction as a field of study, the specific status of recording made it possible to distinguish three areas of study: popular music, art music and folk music. Recording has also been seen as a symptom and a variable in the development of the music business. It made music available for distribution across a broad range of media, including radio, cinema and later television and then the Internet. In the present era of the domination of streaming platforms in the consumption of popular music, music rights and the creation of catalogues are taking on major importance for the cultural industries and the digital economy.

The recorded medium, as a reproducible asset, is also becoming something that can be preserved, archived and restored (republished) as media change. In addition to commercial aspects, there is a creative dimension involved: recordings can be a medium for creation, as well as having a heritage dimension. The analysis of recordings as 'texts' of popular music has been one of the main areas of research over the last forty years, which helps problematising the barriers between musical meta-genres and blurring the boundaries between categories applied to music.

Research into music production and studio techniques has also seen considerable development over the last few decades. Scientific literature has long emphasised the importance of the recording studio as a technical and artistic tool (the studio as musical instrument), as well as as a place of interaction, and an economic focal point, at the crossroads of the practical, the technical, the aesthetic and the social.

New questions have come into play in the recording of popular music in recent years, and research has expanded to take in other, more contemporary, perspectives. These include postcolonial studies: how is music recorded around the world? Gender studies: how do recording practices reflect or shift power relations and gender stereotypes? Ecological issues also arise, through the question of the environmental footprint of recorded music, whether produced on physical media or in digital format. From an aesthetic and ontological point of view, there is a continuum between live music and recorded music : what should be said about the role of computers, artificial intelligence and the automatic production of recordings, in concerts and on record? More recently, with the advent of the global public health crisis from 2019 to 2022, the impossibility of going on stage or to a concert shook up live music habits and initiated new thinking and research into the live/recording bipolarity.

Our conference is also an invitation to look at the recording of popular music in global and cultural terms. Recording is a practice which can also be understood in a broader, anthropological sense: how is socio-cultural diversity “recorded” or not in popular music? What is the logic behind this rendering invisible or this preservation, which facilitate the accessibility of certain genres or repertoires over others?

How recordings are received and listened to is also at play here: how do communities and audiences judge recorded music? According to what criteria? Listening has evolved in step with the habits and behaviours made possible by recorded popular music. This also feeds into recent questions raised by sound studies.

Program

The full program is available


The keynotes will be broadcast live.
Links will be provided here in a few days.


A fully formatted pdf version of the program is coming very soon.
That final version will be available on this web page and the sciencesconf conference page
and through a QR code that will be printed on the back of your badge, redirecting to this page

Off-program activities

Our advisory board and the whole organizing team have gathered several ideas of off-program activities, for you to fully enjoy your stay in Paris.

A file with propositions and suggestions will be available online here soon, in the menu to the right of this webpage. Check it!

Participation

Each participant must be a member of a branch of IASPM when registering for the conference: www.iaspm.net/how-to-join

The call for papers is closed


The registration is closed

Organising committee e-mail address: iaspmparis2025@sorbonne-nouvelle.fr

Organizing committee

Catherine Rudent (convenor), Marion Brachet, Baptiste Bacot, Romain Garbaye, Gérôme Guibert, Christophe Levaux, Emmanuel Parent, Cécile Verschaeve

Scientific Committee

Chair: Christophe Pirenne
Mike Alleyne, Alessandro Arbo, Samantha Bennett, Adil Johan, Ragnhild Brøvig, Lori Burns, Céline Chabot-Canet, Meng Tze Chu, Anne Danielsen, Martha de Ulhoa, Oded Erez, Franco Fabbri, Kirsty Fairclough, Patryk Galuszka, Elsa Grassy, Line Grenier, Catherine Guesde, Olivier Julien, Serge Lacasse, Amparo Lasen, Buata Malela, Isabelle Marc, Julio Mendivil, Sue Miller, Bodo Mrozek, Benoît Navarret, Richard Osborne, Emmanuel Parent, Sergio Pisfil, Laurent Pottier, Cécile Prévost-Thomas, Catherine Provenzano, Oliver Seibt, Veronica Skrimsjö, Catherine Strong, Eric Weisbard, Justin Williams

Advisory board

Baptiste Bacot, Sarah Benhaïm, Rémi Boivin, Marion Brachet, Claude Chastagner, Salomé Coq, Marianne Di Benedetto, Iulia Dima, Guillaume Dupetit, Stephane Escoubet, Claire Fraysse, Romain Garbaye, Vincent Granata, Elsa Grassy, Catherine Guesde, Gérôme Guibert, Guillaume Heuguet, Jason Julliot, Marc Kaiser, Sébastien Lebray, Barbara Lebrun, Sangheon Lee, Christophe Levaux, Julie Mansion-Vaquié, Guillaume Mouleux, John Mullen, Emmanuel Parent, Christophe Pirenne, Laurent Pottier, Jean-Christophe Sevin, Jedediah Sklower, Florence Tamagne, Cécile Verschaeve

Lieu, transport, logement

La conférence aura lieu sur le Campus Nation, au 8 avenue de Saint-Mandé à Paris.
Le campus se trouve à côté des stations Nation et Picpus. Les lignes de transport en commun les plus proches sont le RER A, et les lignes de metro 1, 2 et 6. N’hésitez pas à chercher des possibilités de logement le long de ces lignes, en particulier vers l’Est sur le RER A et la ligne de métro 1, même si ce n’est plus dans Paris intra muros : Carte du réseau de transports en commun parisien
Il y a plusieurs aéroports autour de Paris : nous vous recommandons d'arriver par Paris Charles de Gaulle (CDG) ou Paris Orly (ORY).
- Depuis Charles de Gaulle, le RER B vous amènera directement au centre de Paris. Selon l’heure de la journée, le RoissyBus (13€/ticket) peut être une option plus confortable et moins bondée.
- Depuis Orly, ce sera par la ligne de métro 14.
Il existe de nombreuses options pour se loger autour de l’université, avec des hôtels classiques, des locations, mais aussi des auberges de jeunesse (The People Paris Nation, à deux pas du site de la conférence, et Joe&Joe Paris Nation) si vous cherchez une option plus abordable.

Présentation

Une présentation complète du colloque est faite dans l’appel à communication, mis en ligne sur cette page, dans le menu de droite. Cet appel est désormais clos.

Programme

Le programme complet est ici

Les conférences plénières (keynotes) seront diffusées en direct sur internet. Les liens pour y accéder seront donnés ici dans les jours qui viennent.

Un programme entièrement mis en forme circulera sous peu. Il sera accessible sur cette page-ci (dans le menu à droite) ainsi que sur la page sciencesconf du colloque et par un QR code que vous trouverez imprimé au dos de votre badge et sur les affichages sur place, qui vous amènera sur cette page: https://iaspmbfe.wordpress.com/iaspm-2025-biennial-conference-recording-popular-music/

Autour du colloque

Notre comité de pilotage et notre équipe d’organisation ont prévu des suggestions et des activités en plus du programme scientifique proprement dit, afin que vous profitiez de Paris au maximum.
Un document avec ces activités « off » sera mis en ligne prochainement sur cette page-ci dans le menu de droite.

Modalités de participation

Chaque participant·e doit être adhérent·e d’une branche ou de l’IASPM international au moment de s'inscrire : www.iaspm.net/how-to-join / https://iaspmbfe.wordpress.com/adherer/

L’appel à communications est clos.

Les inscriptions sont closes.

Contact du comité d’organisation : iaspmparis2025@sorbonne-nouvelle.fr

Comité d’organisation

Catherine Rudent (porteuse), Marion Brachet, Baptiste Bacot, Romain Garbaye, Gérôme Guibert, Christophe Levaux, Emmanuel Parent, Cécile Verschaeve

Comité scientifique

Président : Christophe Pirenne
Mike Alleyne, Alessandro Arbo, Samantha Bennett, Ragnhild Brøvig, Lori Burns, Céline Chabot-Canet, Meng Tze Chu, Martha de Ulhoa, Oded Erez, Franco Fabbri, Kirsty Fairclough, Patryk Galuszka, Elsa Grassy, Line Grenier, Catherine Guesde, Olivier Julien, Serge Lacasse, Amparo Lasen, Buata Malela, Isabelle Marc, Julio Mendivil, Sue Miller, Bodo Mrozek, Benoît Navarret, Richard Osborne, Emmanuel Parent, Sergio Pisfil, Laurent Pottier, Cécile Prévost-Thomas, Catherine Provenzano, Oliver Seibt, Veronica Skrimsjö, Catherine Strong, Eric Weisbard, Justin Williams

Comité de pilotage

Baptiste Bacot, Sarah Benhaïm, Rémi Boivin, Marion Brachet, Claude Chastagner, Salomé Coq, Marianne Di Benedetto, Iulia Dima, Guillaume Dupetit, Stephane Escoubet, Claire Fraysse, Romain Garbaye, Vincent Granata, Elsa Grassy, Catherine Guesde, Gérôme Guibert, Guillaume Heuguet, Jason Julliot, Marc Kaiser, Sébastien Lebray, Barbara Lebrun, Sangheon Lee, Christophe Levaux, Julie Mansion-Vaquié, Guillaume Mouleux, John Mullen, Emmanuel Parent, Christophe Pirenne, Laurent Pottier, Jean-Christophe Sevin, Jedediah Sklower, Florence Tamagne, Cécile Verschaeve