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Dossier dirig&#233; par Sheila Whiteley (Professor Emeritus, University of Salford) et Frederic Robert (ma&#238;tre de conf&#233;rences &#224; l&#8217;Universit&#233; Jean Moulin &#8211; Lyon III)ArgumentairePendant les ann&#233;es 1960 aux &#201;tats-Unis, toute une g&#233;n&#233;ration de baby-boomers proposa une culture radicalement oppos&#233;e &#224; l&#8217;American Way of Life, qui s&#8217;exprima par un ensemble h&#233;t&#233;rog&#232;ne de r&#233;f&#233;rences culturelles, d&#8217;id&#233;es, de modes de vie, de styles et, embl&#233;matiquement, de musiques, mouvement culturel baptis&#233; &#171;&#160;la&#160;&#187; contre-culture. Cette culture multiple a marqu&#233; les g&#233;n&#233;rations qui l&#8217;ont v&#233;cue et suivie, r&#233;volutionnant le paysage politique et culturel et la sc&#232;ne musicale mondiale, laissant un h&#233;ritage sans cesse r&#233;activ&#233;, pol&#233;miquement (punk, metal satanique) ou non, se revendiquant de l&#8217;esprit (Goa trance, Kosmische Musik, alternative hip-hop) et/ou de la lettre (freak folk, neo-hippies, stoner) du mouvement, en remettant au go&#251;t du jour des &#233;l&#233;ments musicaux, techniques, gestuels, identitaires (mode, pr&#233;sentation de soi), ou rituels (protest songs, sit-ins, grands festivals &#171;&#160;alternatifs&#160;&#187;) de la p&#233;riode. Le mouvement suscita &#233;galement une r&#233;action forte dans le monde politique et culturel (&#171;&#160;culture wars&#160;&#187;, PMRC de Tipper Gore dans les ann&#233;es 1980&#8230;).L&#8217;hagiographie progressiste du mouvement voudrait que la contre-culture f&#251;t multiculturelle, multiraciale, f&#233;ministe, contestataire, solidaire. Pourtant, plusieurs signent tendent &#224; nuancer le bilan. Si l&#8217;on identifie ce mouvement essentiellement au rock (et ses subgenres&#160;: blues-rock, pop, rock psych&#233;d&#233;lique, rock progressif, hard rock) et &#224; la folk &#8211; majoritairement pratiqu&#233;s et &#233;cout&#233;s par des Blancs &#8211; d&#8217;autres genres musicaux peuvent &#234;tre consid&#233;r&#233;s comme solidaires de nombreuses de ses caract&#233;ristiques. Le free jazz ou les musiques jama&#239;caines (&#171;&#160;noires&#160;&#187;) participent-ils de la contre-culture des ann&#233;es 1960&#160;? La soul d&#8217;un chantre de la r&#233;ussite individuelle et du capitalisme am&#233;ricain comme James Brown &#339;uvra &#224; l&#8217;int&#233;gration des Afro-Am&#233;ricains dans le contestation. La contre-culture se d&#233;veloppa au c&#339;ur de l&#8217;Occident, mais d&#233;clencha &#233;galement une passion, parfois caricaturale, de l&#8217;ailleurs exotique. Quel fut ensuite l&#8217;&#233;cho du &#171;&#160;Tiers-Monde&#160;&#187; au sein de la contre-culture (raga rock, orientalisme) et inversement, du mouvement au-del&#224; du monde occidental&#160;? C&#8217;&#233;tait l&#8217;&#233;poque du Summer of Love, de l&#8217;&#233;galit&#233; entre les sexes, mais elle glorifia &#233;galement ses chanteurs et guitaristes &#233;rig&#233;s en stars ultra-virilis&#233;es, et les figures f&#233;minines du mouvement en sont minoritaires.Dans une optique pluridisciplinaire (histoire culturelle, &#233;tudes litt&#233;raires, musicologie, sociologie, sciences politiques, esth&#233;tique, philosophie&#8230;), ce num&#233;ro de Volume s&#8217;int&#233;ressera par le d&#233;tour de la musique &#224; ce courant culturel h&#233;t&#233;rog&#232;ne, son identit&#233; &#233;clat&#233;e, sa circulation plan&#233;taire, ses origines, son influence et ses h&#233;ritages. Nous invitons ainsi les chercheurs &#224; &#233;tudier le ph&#233;nom&#232;ne de &#171;&#160;la contre-culture&#160;&#187; musicale mais aussi &#224; en interroger la d&#233;finition esth&#233;tique, culturelle, politique, historique et chronologique&#160;: que fut la contre-culture, et comment la musique l&#8217;a ciment&#233;e&#160;? qu&#8217;est-ce qui l&#8217;identifie non seulement sp&#233;cifiquement dans les ann&#233;es 1960-1970, mais aussi plus g&#233;n&#233;ralement au-del&#224;&#160;: ses caract&#233;ristiques &#171;&#160;formelles&#160;&#187; (caract&#233;ristiques musicales, styles), son id&#233;ologie (militantisme, modes de vie) ou ce &#224; quoi elle s&#8217;oppose (le syst&#232;me, les &#171;&#160;valeurs am&#233;ricaines traditionnelles&#160;&#187;, la guerre, le capitalisme)&#160;? Les sixties sont constamment d&#233;battues dans les milieux de l&#8217;art, de la presse culturelle et de la politique&#160;: la contre-culture est-elle le berceau &#171;&#160;des&#160;&#187; contre-cultures actuelles&#160;? Il s&#8217;agit ici de pistes de recherche. Tout article sur musique et contre-culture(s) sera soumis au comit&#233; &#233;ditorial de Volume&#160;! Voici quelques autres suggestions (non-exhaustives) de pistes &#224; &#233;tudier&#160;:    les genres musicaux (&#171;&#160;San Francisco sound&#160;&#187;, jazz-rock, rock progressif, psych&#233;d&#233;lique, hard rock, free jazz, soul&#8230;), leurs g&#233;n&#233;alogies (musique, culture, technologie, politique)&#160;;    le r&#244;le de l&#8217;&#233;volution technologique (instrumentation, techniques d&#8217;enregistrements, sonorisation&#8230;)&#160;;    les subcultures (hippies) de la p&#233;riode, leurs stars et moments phares, leur signification,     th&#232;mes (sexe, drogue) et imaginaires&#160;;    leurs h&#233;ritages&#160;: permanences et ruptures (punk, techno, free parties, freak folk&#8230;), et inversement&#160;: &#171;&#160;r&#233;cup&#233;ration&#160;&#187; et d&#233;voiement par la culture dominante&#160;;    les circulations contre-culturelles entre musiques, arts (litt&#233;rature beat), politique, mouvements sociaux&#160;;    les questions de genre, de classe, de race, de sexualit&#233;, d&#8217;identit&#233;&#160;;     l&#8217;influence du &#171;&#160;Tiers-Monde&#160;&#187; sur la contre-culture (orientalisme, africanisme&#8230;), la g&#233;opolitique de la contre-culture et ses nouveaux centres de gravit&#233;&#160;;    la perception actuelle de la contre-culture&#160;: c&#233;l&#233;brations et condamnations dans les m&#233;dias, les d&#233;bats intellectuels, les mondes de l&#8217;art&#160;;    les contre-contre-cultures r&#233;actionnaires, &#171;&#160;de droite&#160;&#187;, &#224; l&#8217;&#233;poque et depuis (revivals conservateurs, skinheads, rock against communism&#8230;)&#160;Modalit&#233;s de soumissionLes contributions sont &#224; envoyer par email avec r&#233;sum&#233;, mots-cl&#233;s et biographie succinte de l&#8217;auteur, aux adresses suivantes :     fredericbob[at]aol[dot]com,     editions[at]seteun[dot]net &#38;     jedediah-sklower[at]hotmail[dot]com    gerome[dot]guibert[at]wanadoo[dot]fr &#160;avant le 15 octobre 2011Nous prions les auteurs de bien suivre les normes de formatage suivantes, leur respect simplifiant le processus &#233;ditorial et le travail de mise en page, et &#233;courtant ainsi les d&#233;lais&#160;:    Format&#160;: 30.000 &#224; 50.000 signes maximum, espaces compris, format .doc (Word 2004) ou .rtf.     Normes bibliographiques&#160;: style &#171;&#160;Harvard&#160;&#187;, cf. http://seteun.net/spip.php?article20English versionMusic and counter-culture(s): Rock, the Sixties, the US and beyondhttp://seteun.net/spip.php?article255&#160;Submission deadline: October 15th, 2011Volume! La Revue des musiques populaires (www.seteun.net), the one and only French peer-reviewed journal exclusively dedicated to the interdisciplinary study of popular music, seeks contributions for a special issue on music and counterculture. Any scholarly essay on popular music and counterculture, focusing on link to the &#34;central&#34; period of the sixties and seventies, is welcome. Here are however a few first elements that have generated debate in our editorial discussions:Download the CFP here: http://www.seteun.net/spip.php?article258During the sixties in the U.S. and more globally in the West, a new generation proposed &#8211; apparently &#8211; a culture radically opposed to the traditional American Way of Life, which expressed itself via a set of cultural references, ideas, lifestyles and, emblematically, of musics &#8211; a heterogeneous movement baptized &#34;the&#34; counterculture. It marked the generations that lived it and the ones that followed, transforing the political and cultural landscapes as well as the global musical spectrum. Its legacy has constantly been reactivated since by &#34;new&#34; musical subcultures, be it polemically (punk, metal) or not, that claimed for themselves its spirit (Goa trance, Kosmische Musik, alternative hip-hop) and/or its material features (freak folk, neo-hippies, stoner), and appropriated former musical elements, as well as techniques, gestures, identities (style, hexis) or rituals (protests songs, alternative festivals, forms of activism etc.) to use them in new ways with new medias.A certain progressive hagiography insists on its multicultural, multiracial, feminist, militant and egalitarian aspects. However, many signs suggest that things weren't that homogenous. If we usually identify the movement with rock'n'roll (and its subgenres: blues-rock, pop, psychedelic music, prog rock, hard rock) and folk &#8211; which were mainly listened to by white youth &#8211; to define exactly which musics were part of the phenomenon is a complex task: how did, for example, previous subcultures, or free jazz and Jamaican music and other &#34;minority&#34; musicians and fans relate to the counterculture? The proud funk and soul music of a champion of individual success and American capitalism like James Brown paradoxically helped cement the protest of the Afro-American youth. The counterculture developed in the heart of the West, but it also triggered a somewhat caricatured passion for the exotic other &#8211; what is it that can be said, musically (raga rock, neo-orientalism), politically and culturally of the echo of the &#34;Third World&#34; within this movement? To take a final example of the phenomenon's ambiguity, it was the era of the Summer of Love, of sexual freedom and so forth, but it also glorified its manly heterosexual singers and guitar heroes, while the female and homosexual figures were rare on stage.For this special issue of Volume!, the editors seek submissions coming from the whole spectrum of social sciences, that will reflect upon the heterogeneity of this/these music(s), its ambiguity, scattered identity, its worldwide circulation, its origins, influence and legacy. How can we define, aesthetically, culturally, politically, historically and chronologically the music of the counterculture? what is it that cements it? &#34;formal&#34; characteristics (musical elements, style), ideology (militancy, lifestyles) or its nemeses (the system, the American values and cultural hierarchies, war, the State, capitalism)?Other, more general, possible categories:         the musical genres (&#34;San Francisco sound&#34;, jazz-rock, prog rock, psychedelic music, hard rock, free jazz, soul, funk&#8230;);              the role of technology (instrumentation, recording technologies, sound systems&#8230;);              the period's subcultures, their stars, grandiose moments, signification, themes and mythologies;              their legacies: permanence and ruptures (punk, techno, free parties, freak folk&#8230;) and the contrary (&#34;merchant hijacking&#34; by the dominant culture&#8230;);              the countercultural circulations between music, arts, politics, social movements;              questions of gender, class, race, sexuality and identity;              influence of the &#34;Third World&#34; on the counterculture (orientalism, africanism&#8230;), the geopolitics of counterculture and its new centers of gravity;              the actual perceptions and representations of the counterculture: celebration and condemnation in the media, intellectual &#38; art worlds;              the &#34;counter&#34;-countercultures, the &#34;reactionary&#34; subcultures, back then and since (conservative revivals, extreme right-wing skinheads, rock against communism&#8230;):              the margins of counterculture.     We strongly recommend authors sending us an early 500 word maximum proposal when possible.         Final submissions should be sent by October 15th, 2011, by email,              in English or French,              with an abstract, a set of key words and a short biography of the author,              30 000 to 50 000 characters (spaces included),              Harvard system of referencing,              .doc &#8211; Word 2004 format or .rtf;              (detailed instructions here: http://www.seteun.net/spip.php?article229 &#8211; respecting these requirements speeds up the editorial process.)     to the following addresses: editions[at]seteun[dot]net, fredericbob[at]aol[dot] &#38; jedediah-sklower[at]hotmail[dot]com They will first be evaluated by Volume's editorial board before being blindly peer-reviewed by specialists.