CFP: Exploring Gender Dynamics in the Music Industry

May 17-18, 2019
University of Groningen
Groningen, The Netherlands


The Department of Arts, Culture and Media in connection with the research
project *Exploring* *Gender Barriers in the (Dutch) Music Industry* funded
by the *NWO KIEM (Creative Industry – Knowledge Innovation Mapping)* at the
University of Groningen is pleased to announce a *two-day symposium* to be
held on *May 17-18, 2019*. The symposium will bring together both scholars
and industry professionals to share insights on the topic of Gender
Dynamics in the Music Industry. The intention is to share resources and
create a dialogue to better address the lack of gender parity within the
music industry. Further, we seek to extend to discussion to fields
connected to, but not exclusive to the (relatively better researched)
performance sphere. We welcome scholars and industry professionals from all
genders and from all genres of music from classical to folk and popular.


During this two-day seminar, we are proud to host two keynote speakers, *Dr.
Marion Leonard* (University of Liverpool, UK) and *Dr. Ann Werner*
(Södertörn University, Sweden) with experience researching and publishing
on this important topic as well as an evening performance at the local
podium Oost. Finally, during this symposium, we will provide an interactive
booklet on resources for music industry professionals and scholars
providing techniques to work pro-actively to improve the gendered dynamics
within this field. During a workshop, we will request information about
your own music industries to add to this interactive platform.


Proposals are invited especially on these five topics but other related
topics will also be considered:


1.     *Gender quotas in music festivals and music podiums/stages*: we
welcome talks which examine the role of quotas in music festival programing
to research about the existing quotas in music performance platforms
broadly conceived.

2.     *Gendered dynamics behind the scenes*: this theme relates especially
to those fields outside of performance (yet related) and can include any of
the myriad roles performed by music industry professionals from booking
agents to administrative assistants and from media platforms to producers
and talent scouts.

3.     *Discourses on gender in music industry platforms*: we understand
discourses broadly as also widely applied and as encompassing various
formats from journalistic writing to the ‘texts’ circulated through
performance based media such as music videos and documentaries and to the
informal discussions and ‘value judgements’ in the hallways and coffee
corners of music industry institutions.

4.     *Policy approaches towards gender dynamics in the music industry:
*With
this theme, we welcome topics which examine existing policy approaches
towards achieving more gender parity within the music industry such as
those recently examined in Sweden *(“Tackling gender inequalities in music:
a comparative study of policy responses in the UK and Sweden” 2017*
<https://www.tandfonline.com/doi/abs/10.1080/10286632.2017.1341497?src=recsys&journalCode=gcul20>*).
*We also welcome ideas related to possible new cultural policies aimed at
various levels from municipal to regional and national and within various
spheres of the music industry from broadcasting and performance to hiring
policies of music industry institutions.

5.     *Gendered facets of music education/training: *Studies such as those
carried out by Born* (**Music Technology, Gender, and Class: Digitization,
Educational and Social Change in Britain 2015*
<https://www.cambridge.org/core/journals/twentieth-century-music/article/music-technology-gender-and-class-digitization-educational-and-social-change-in-britain/FEC192DA523E7CD4491066A1E79E4861>*)
*on music and technology have provided important thick descriptions of the
dynamics guiding music education programs especially in light of recent
changes within education such as the rise of neoliberalism and the
propensity to support new technologies within the classroom. Here we
welcome presentations which query the role of education for facilitating or
inscribing particular gendered patterns.

Paper presentations will be twenty minutes in length with ten minutes for
questions.


For our conference, we are proud to host two speakers: *Marion Leonard*
(University of Liverpool) from the United Kingdom and *Ann Werner*
(Södertörn University) from Sweden.


*Marion Leonard* is senior lecturer in the Department of Music at the
University of Liverpool where she is also a member of the Institute of
Popular Music. She is author of *Gender in the Music Industry* (Ashgate)
which drew on in-depth interviews with women rock musicians to explore how
they negotiated gendered cultures within their working lives. Her recent
work in this area has looked beyond musicians to consider how gender
structures the experiences of women working in other areas of employment in
the music industries. She has published numerous articles and chapters in
the field of popular music studies and is co-editor of *The Beat Goes On:
Liverpool, Popular Music and the Changing City *(Liverpool University
Press) and *Sites of Popular Music Heritage* (Routledge).


*Ann Werner’s* PhD in the field of cultural studies examined teenage girls’
uses of popular music while attending the institutions Linköping University
in Sweden and Western Sydney University in Australia. From 2009, she took
various posts in music, media and gender studies at Södertörn University,
Stockholm University, Auckland University, and Linnaeus University
respectively. Her research interests include projects on first people’s
music online, dancing within YouTube, and draws from concepts from
education, music and gender studies. She has also researched music related
media such as music streaming as well as the relationship between music,
gender, feminism and anti-racism more broadly. Her latest publication in
the journal Per Musi is titled “What Does Gender have to do with Music
Anyway?”
(2019 forthcoming). In 2018, she published the book Streaming Music on
Routledge, co-written with Sofia Johansson, Patrik Åker and Gregory
Goldenzwaig.


DEADLINES

Please send your title, abstract, a short bio (less than 100 words) and
affiliation to k.a.mcgee@rug.nl by *March 15th, 2019*.

Abstracts should be less than 350 words, in English, and with a relevant title.

Proposed panels are also welcome and should contain a short panel abstract
– less than 300 words and individual presentation abstracts, less than 350
words.


For more information on the symposium and registration see our developing
website – Gender Dynamics in the Music Industry
<https://www.gendermusicindustry.net/> or contact Kristin McGee at
k.a.mcgee@rug.nl.

herb1979, CC license https://pixabay.com/en/school-board-music-blackboard-1063561/

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