Eric Smialek 17 Belmont St., Huddersfield, UK, HD1 5BZ • +44 07474 136002 • e.smialek@hud.ac.uk Updated 21 February 2024 Employment History 2022–Present Senior Research Fellow, University of Huddersfield 2021–Present Assistant Editor, IASPM Journal 2021 Contract Teaching Faculty, Wilfrid Laurier University 2021 Contract Faculty, Douglas College 2020 Part-time Professor, University of Ottawa 2013–2018 Course Lecturer, McGill University 2007–2016 Research Assistant, McGill University 2006–2014 Teaching Assistant, McGill University Education 2016 Ph.D., Musicology, McGill University Dissertation: “Genre and Expression in Extreme Metal Music, ca. 1980–2015” Supervised by David Brackett and Nicole Biamonte 2009 Master of Arts (Dean’s Honour List), Musicology, McGill University Supervised by David Brackett 2006 Bachelor of Arts, Music, University of British Columbia 2004 Diploma in Performing Arts, Douglas College New Westminster, BC Publications Forthcoming In press, publication date: 9 May 2024. “Dis-ruptions: Heavy Metal Appropriations of Disability in Media,” co-authored with Samantha Bassler. In Heavy Metal Music and Dis/Ability: Crips, Crowds, and Cacophony, edited by Jasmine Hazel Shadrack and Keith Kahn-Harris. Intellect. Completed and accepted. “ ‘All Shall Scream!’ Transposable Lessons from Pierre-Luc Senécal’s Hate.Machine for Growlers Choir.” In The Routledge Handbook of Metal Music Composition: Evolution of Structure, Expression, and Production, edited by Lori Burns and Ciro Scotto. New York: Routledge. Completed and accepted. “Metal Taxonomies: Parallel Universes of Genre.” In Music and Genre: New Directions, edited by Georgina Born and David Brackett. Durham, NC: Duke University Press. Completed and accepted. “Mapping Social-Class Divisions within Metal: Global Material Conditions, Disciplinary Priorities, Subgeneric Trends, and Stylistic Analyses.” In Musical Scenes and Social Class: Debating Punk and Metal. London: Palgrave Macmillan. Completed and accepted. “Progressive Metal,” co-authored with Andy R. Brown. In The Bloomsbury Encyclopedia of Popular Music of the World, edited by John Shepherd and David Horn. Vol. XIII. Genres: International. New York: Bloomsbury. Completed and accepted. Review of Recentrer la musique. Vol. 1. Audiotactlité et ontologie de l’œuvre musicale by Laurent Cugny. Revue musicale OICRM 10, no. 1. Accepted with revisions underway. “Categorizing Sound in the Undergraduate Classroom: Pedagogical Applications.” Volume! La revue des musiques populaires. Under contract. “Literary Worlds and Storytelling Narratives in the Technical Death Metal of Nile: Western Subjectivities and Ancient Egyptian Historical Imagination.” In The Routledge Handbook of Progressive Rock, Metal, and the Literary Imagination, edited by Chris Anderton and Lori Burns. New York: Routledge. Published 2024. “Rainbow Capitalism,” co-authored with Kiersten van Vliet. In The SAGE Encyclopedia of LGBTQ+ Studies. 2nd ed. Vol. 3, edited by Abbie E. Goldberg, 1062–65. Thousand Oaks, CA: SAGE Publications, Inc. 2023. “Contempt-of-Core: A Reception History of Abject Metalcore Subgenres—NWOAHM, Deathcore, and Screamo.” In Cambridge Companion to Metal Music, edited by Jan Herbst, 281–98. New York: Cambridge University Press. https://doi.org/10.1017/9781108991162.020. 2021. “Who Needs to Calm Down? Taylor Swift and Rainbow Capitalism.” Contemporary Music Review 40, no. 1: 99–119. https://doi.org/10.1080/07494467.2021.1956270. 2019. “Getting Medieval: Signifiers of the Middle-Ages in Black Metal Aesthetics.” In Medievalism and Metal Music Studies: Throwing Down the Gauntlet, edited by Ruth Barratt-Peacock and Ross Hagen, 35–55. Bingley: Emerald. https://doi.org/10.1108/978-1-78756-395-720191005. 2019. “Unending Eruptions: White-Collar Metal Appropriations of Classical Complexity, Experimentation, Elitism, and Cultural Legitimization,” co-authored with Méi-Ra St-Laurent. In The Routledge Companion to Popular Music Analysis: Expanding Approaches, edited by Ciro Scotto, Kenneth Smith and John Brackett, 378–98. New York: Routledge University Press. https://doi.org/10.4324/9781315544700-26. 2018. “Le phallus en forme de Dieu : préservation de l’identité au sein du milieu international du métal chrétien.” [“The God-Shaped Phallus: Identity Retention in the Transnational Christian Metal Scene.”] Dire et/ou maudire Dieu par la musique. Praising and/or Cursing God through Music. Special Issue of Théologiques 26, no. 1: 147–83. https://doi.org/10.7202/1062066ar. 2017. Review of Dangerous by Susan Fast. New York: Bloomsbury, 2014. Journal of the Society for American Music 11, no. 2: 232–35. https://doi.org/10.1017/S1752196317000104. 2016. “The Unforgiven: A Reception Study of Metallica Fans and ‘Sell-Out’ Accusations.” In Global Metal Music and Culture: Current Directions in Metal Studies, edited by Andy R. Brown, Karl Spracklen, Keith Kahn-Harris and Niall W. R. Scott, 106–24. New York: Routledge. https://doi.org/10.4324/9781315742816-9. 2012. “Musical Aspects of Vowel Formants in the Extreme Metal Voice,” co-authored with Philippe Depalle and David Brackett. Proceedings of the 15th International Conference on Digital Audio Effects, York, UK, 349–56. 2012. “A Spectrographic Analysis of Vocal Techniques in Extreme Metal for Musicological Analysis,” co-authored with Philippe Depalle and David Brackett. ICMC 2012: Non-Cochlear Sound; Proceedings of the International Computer Music Conference 2012, Ljubljana, Slovenia, 88–93. Professional Blog Activity 2017. Musicology Now [Blog] http://musicologynow.ams-net.org/2017/01/live-blog-event-music-and-inauguration_36.html. January 20. Contributed commentary on the musical performances of the United States Presidential Inauguration. Book Proposal Genre and Expression in Extreme Metal Music, in development with Sarah Miller, Yale University Press. Peer-Reviewed Presentations 2024. “To Beast or Not to Beast: Koala-tative Evidence for a Bestial Hermeneutics of Extreme Metal Vocals.” Accepted for presentation at the “New Perspectives on the Musical Analysis of the Voice” conference in Lyon, France (June). 2024. “ ‘She’s also a Billionaire’: The Infinite Horizon of Sociopolitical Criticism on Taylor Swift.” Accepted for presentation at the Tay Day conference at the University of Liverpool (June). 2024. “Towards an Acoustic-Semantic Space of Extreme Metal Vocal Styles.” Accepted for presentation at DAGA 24, the annual conference for the German Association for Acoustics/ Deutsche Jahrestagung für Akustik, Hannover, German (March). 2023. “Literary Worlds and Storytelling Narratives in the Technical Death Metal of Nile: Western Subjectivities and Ancient Egyptian Historical Imagination.” Presented at the American Musicological Society annual meeting, Denver, CO (November). 2023. (Co-authored with Jan Herbst) “Towards an Analytical Methodology for Vocalists’ Live Gestures in Extreme Metal.” Presented at the 2023 GFPM [Gesellschaft für Popularmusikforschung/Society for Popular Music Research], Siegen, Germany (September). 2023. “Literary Worlds and Storytelling Narratives in the Technical Death Metal of Nile: Western Subjectivities and Ancient Egyptian Historical Imagination.” Presented at IASPM-Canada [International Association for the Study of Popular Music] annual meeting, Québec City (May). 2023. “ ‘All Shall Scream!’: Transposable Lessons from Pierre-Luc Senécal's Hate.Machine for Growler's Choir.” Presented at the 2023 International Society for Metal Music Studies (ISMMS) conference, Montreal, QC (June). 2023. “ ‘All Shall Scream!’: Transposable Lessons from Pierre-Luc Senécal's Hate.Machine for Growler's Choir.” Presented at the annual meeting of the International Association for the Study of Popular Music (IASPM), Minneapolis, MN (June). 2022. (Co-authored with Samantha Bassler) “Dis-ruptions: Heavy Metal Appropriations of Disability in Media.” Presented at IASPM [International Association for the Study of Popular Music] XXI 2022, Daegu, South Korea (July). 2021. “Who Needs to Calm Down? Taylor Swift and Rainbow Capitalism.” Presented at IASPM-Canada [International Association for the Study of Popular Music] annual meeting, held online (June). 2020. “The Myth of the Delayed Backbeat in Southern Soul: Discourses of Rhythmic, Corporeal, and Racial Authenticity.” Poster presented at the Society for American Music conference, held online (July). 2019. “Unlimited Semiosis: An Unending Chain of Associations in Extreme Metal.” IASPM-Canada [International Association for the Study of Popular Music] annual meeting, Montréal, QC (May 2019). 2018. “The Myth of the Delayed Backbeat in Southern Soul: Discourses of Rhythmic, Corporeal, and Racial Authenticity.” IASPM-Canada [International Association for the Study of Popular Music] annual meeting, Regina, ON (May). 2017. “Becoming the Beast: Musical Expression in the Extreme Metal Voice.” Society for Music Theory annual meeting, Arlington, VA (November). 2017. “Unending Eruptions: White-Collar Metal Appropriations of Classical Complexity, Experimentation, Elitism, and Cultural Legitimization.” Co-authored with Méi-Ra St-Laurent. Boundaries & Ties: The Place of Metal Music in Communities conference, University of Victoria, Victoria, BC (June). 2017. “In Defense of Teenage Dreams: Katy Perry, Gay-Rights Activism, and Accusations of Emptiness.” IASPM-Canada [International Association for the Study of Popular Music] annual meeting, Toronto, ON (May). 2016. “Unlimited Semiosis: An Unending Chain of Associations in Extreme Metal.” 6th Annual Popular Culture Association of Canada conference, Montréal, QC (May). 2016. “Extreme Metal and Its Others: Metal Audiences’ Hostility Towards Adolescence.” Metal in Strange Places conference, Dayton, OH (October). 2016. “Pleasurable Disorientation in Technical Death Metal.” Metal and Musicology conference, Kingston upon Hull, UK (March). 2015. “Metal Taxonomies: Parallel Universes of Genre.” IASPM-Canada [International Association for the Study of Popular Music] annual meeting, Ottawa, ON (May). 2014. “Extreme Metal and Its Others: Metal Audiences’ Hostility Towards Adolescence.” American Musicological Society annual meeting, Milwaukee, WI (November). 2014. “Extreme Metal and Its Others: Metal Audiences’ Hostility Towards Adolescence.” IASPM-Canada [International Association for the Study of Popular Music] annual meeting, Québec City, QC (May). 2014. “ ‘We are all Canucks’? Constructing a Team Persona and Regional Nationalism through NHL Intro Songs.” “Présence de la musique” competition, Société Société Québécoise de Recherche en Musique (SQRM) (April). 2013. “Rethinking Class Relations in Metal: Conflicting Aesthetics in Meshuggah’s Catch Thirtythr33” at IASPM-Canada [International Association for the Study of Popular Music] annual meeting, Hamilton, ON (May). 2013. “Becoming the Beast: Musical Expression in the Extreme Metal Voice.” Heavy Metal and Popular Culture conference, Bowling Green, OH (April). 2012. “Musical Aspects of Vowel Formants in the Extreme Metal Voice.” Poster co-authored with Philippe Depalle and David Brackett. Presented at the 2012 Digital Audio Effects Conference (DAFx-12), York, UK (September). 2012. “A Spectrographic Analysis of Vocal Techniques in Extreme Metal for Musicological Analysis.” Co-authored with Philippe Depalle and David Brackett. Presented at the International Computer Music Conference (ICMC), Ljubljana, Slovenia (September). 2012. “‘We are all Canucks’? Constructing a Team Persona and Regional Nationalism through NHL Intro Songs.” Music and the Moving Image conference, New York, NY (June). 2012. “‘We are all Canucks’? Constructing a Team Persona and Regional Nationalism through NHL Intro Songs.” IASPM-Canada [International Association for the Study of Popular Music], annual meeting, Wolfville, NS (June 2012). 2012. “How Does Metal Mean? Ways that Musicology Can Contribute to Metal Studies.” Joint meeting of IASPM-US [International Association for the Study of Popular Music] and EMP [Experience Music Project] Pop Conference, joint meeting New York, NY (March). 2011. “Rethinking Class Relations in Metal: Conflicting Aesthetics in Meshuggah’s Catch Thirtythr33.” Home of Metal: Heavy Metal and Place conference, Wolverhampton, UK (September). 2010. “Sounding Icelandic: Signifying Exoticism for North American Audiences” at IASPM-Canada [International Association for the Study of Popular Music], annual meeting, Montréal, QC (June 2011) and the 36th Annual Conference of the Society for American Music, Ottawa, ON (March). 2010. “The God-Shaped Phallus: Identity Retention in the Transnational Christian Metal Scene.” Joint meeting of IASPM-Canada [International Association for the Study of Popular Music] and the Canadian Society for Traditional Music, joint meeting, Regina, SK (June). 2009. “Breathing Fire: Timbral Expression in the Extreme Metal Voice.” IASPM-Canada [International Association for the Study of Popular Music], annual meeting, Halifax, NS (June). 2009. “Necroversive Semiosis: Towards a Form-Functional Analytical Model for Extreme Metal.” “Un-music,” the Sixth Interdisciplinary Conference of Harvard’s Graduate Music Forum, Cambridge, MA (March). 2008. “The Unforgiven: A Reception Study of Metallica and ‘Sell Out’ Accusations.” IASPM-Canada [International Association for the Study of Popular Music], annual meeting, St. Catharines, ON (May). 2008. “Necroversive Semiosis: Towards a Form-Functional Analytical Model for Extreme Metal.” Inaugural Yale Graduate Music Symposium, New Haven, CT (March). 2008. “Terminally-Climactic Form in Radiohead’s ‘Faust Arp’.” Workshop presentation co-presented with Brad Osborn at “The Tonal Systems of Rock” workshop led by Walter Everett as part of the graduate student conference “Conversations: Music Scholarship in Dialogue,” Ann Arbor, MI (February). 2006. “Harnessing Chaos: Analytical Interest in the Rhythms of Meshuggah’s I and Catch Thirtythr33.” University of Western Ontario Graduate Student Symposium in Music, London, ON (May). 2005. “Blurring the Popular and Academic: Analytical Interest in the Rhythms of Meshuggah’s I.” Pacific Northwest Music Graduate Students’ Conference, Vancouver, BC (September). Invited Lectures 2023. “ ‘Was that You?’: Narrative Expressions in Jewel’s ‘Standing Still’.” Presented at the LB30 conference, celebrating 30 years of Lori Burns’ research and mentorship, Ottawa, ON (October). 2023. “ ‘All Shall Scream!’: Transposable Lessons from Pierre-Luc Senécal’s Hate.Machine for Growlers Choir.” Presented at the meeting of the Popular Music Studies Research Group (PMSRG) at the University of Huddersfield. Meeting held online over Zoom (June). 2023. “Creative Methodologies for Analysing Musical Expression in Extreme Metal Vocals.” Presented at the MMT (Music Media Technology) Research Forum, University of Huddersfield, Huddersfield, UK (March). 2021. “Violence in Pornogrind and Death Metal: Reflections on Meaning, Consequences, and Evolving Consciousness.” Presented at “VACS et violences genrées dans la musique elle-même” [“Sexual assault and gendered violence in the music itself”] for DIG! Différences et inégalities de genre dans la musique au Québec [Differences and Inequalities of Gender in the Music of Quebec]. Meeting held online over Zoom (November). 2016. “My Path through Douglas College, UBC, McGill, and Metal Music Studies.” Lecture at Douglas College, New Westminster, BC (November). 2016. “Aspects musicaux des formants des voyelles dans la voix métal.” Lecture at Séminaire de recherche interdisciplinaire sur la voix chantée, a graduate seminar taught by Flavia Gervasi, Université de Montréal, Montréal, QC (April). 2014. “Metal Taxonomies: Parallel Universes of Genre.” Music and Genre: New Directions conference, Montréal, QC (September). 2014. “Music and Musicologists.” Panel presentation at “Grimposium: Trve Kvlt Arts, Films, Sounds and Texts in Extreme Metal,” Concordia University, Montréal, QC (April). 2014. “Rethinking Class Relations in Metal: Conflicting Aesthetics in Meshuggah’s Catch Thirtythr33.” Keynote address at the Anthropology Students Association Undergraduate Conference, McGill University, Montréal, QC (March). 2014. “Extreme Metal and Its Others: Metal Audiences’ Hostility Towards Adolescence.” Public lecture at the McGill Music Doctoral Colloquium, McGill University, Montréal, QC (February). 2012. “Becoming the Beast: Musical Expression in the Extreme Metal Voice.” CIRMMT [Centre for Interdisciplinary Research in Music Media and Technology] Student Symposium, Montréal, QC (May). 2011. “A Brief Tour of Extreme Metal Scholarship.” Public lecture at the Student Life Lecture Series, American University of Rome, Rome, Italy (September). 2006. “Current Research on the Extreme Metal Band, Meshuggah.” Lecture at Ken Morrison’s and Peter Hannan’s Song Analysis course, Vancouver Community College, Vancouver, BC (March). Awards and Honours Conference and Essay Awards: 2014. Finalist. “Présence de la musique” competition. Société Société Québécoise de Recherche en Musique (SQRM). “ ‘We are all Canucks’? Constructing a Team Persona and Regional Nationalism through NHL Intro Songs.” 2013. Peter Narvaez Student Paper Prize. IASPM-Canada (International Association for the Study of Popular Music-Canada). “Rethinking Class Relations in Metal: Conflicting Aesthetics in Meshuggah’s Catch Thirtythr33.” 2012. Peter Narvaez Student Paper Prize. IASPM-Canada (International Association for the Study of Popular Music-Canada). “‘We are all Canucks?’ Constructing a Team Persona and Regional Nationalism through NHL Intro Songs.” 2011. Peter Narvaez Student Paper Prize. IASPM-Canada (International Association for the Study of Popular Music-Canada). “ ‘Sounding Icelandic’: Signifying a Mythologized North in Sigur Rós’ ‘Vaka’.” 2011. Dean’s Essay Prize Competition. McGill University. 1st Prize for “Breathing Fire: A Spectrographic Analysis of Extreme Metal Vocal Timbres.” 2010. Dean’s Essay Prize Competition, McGill University. 2nd Prize for “ ‘Inside What’s Within Behind’: Re-thinking Metal Aesthetics through Meshuggah’s I and Catch Thirtythr33.” External Funding: 2023–25. Marie Skłodowska-Curie Actions (MSCA) Postdoctoral Fellowship: €220,908.48 Horizon Europe 2017–19. FRQSC Bourse de recherche postdoctorale [postdoctoral fellowship]: $60,000 Fonds de recherche du Québec - Société et culture 2011. SSHRC Doctoral Award: $20,000 Social Sciences and Humanities Research Council of Canada Scholarships: 2011. CIRMMT Student Award: $5000 Centre for Interdisciplinary Research in Music Media and Technology 2010. Schulich Scholarship: $10,000 McGill University 2008. Schulich Scholarship: $5000 McGill University 2006. Offer of UBC Graduate Entrance Scholarship: $1500 University of British Columbia Teaching Experience Individual Supervision: 2022–Present Ph.D. Co-supervision, University of Huddersfield Alex Vallejo, “Genre, Division and Elitism in Contemporary Electric Guitar Culture,” co-supervised with Dr. Jan Herbst. Co-supervision functions as an apprenticeship to Ph.D. supervision. I participate in meetings, gave advice, and provided feedback on work. 2022–Present Final-Year Projects, University of Huddersfield Fourth-year undergraduate individual study for music majors. Students plan an individual scholarly or artistic-creation project to be completed over two semesters. Students propose the plan and the grading scheme and attend ten office meetings with a supervisor to help coach their goal setting and project management. Full Instructorships: 2022–Present Theory and Analysis of Popular Music, University of Huddersfield First-year undergraduate class for music majors that introduces students to the fundamentals of music theory and their application to popular music. Topics include basic musical terminology and notation, tertian harmony and harmonic function, diatonic modes, popular-music instrumentation, song form, and their application to analyzing whole songs. Students learn how to effectively move between detailed observations and broader significance to communicate meaningful observations about popular music recordings. 2021 Music in Popular Culture, Wilfrid Laurier University Fourth-year undergraduate seminar that introduces students to scholarly research in popular music. Topics include the music industry, race, gender, genre, authenticity, hermeneutics, poststructuralism. Students learn how to efficiently process large amounts of reading, how to read actively with an attention to the rhetorical devices of scholarship, and how to engage with scholarly debates in meaningful ways. 2021 History of Western Music II: Classic/Romantic, Douglas College Second-year, music-history survey course for music majors, covering the 18th and 19th centuries. Topics include the philosophy of the Enlightenment, comic opera and operatic reform, the life and music of Haydn, Mozart, and Beethoven, the development of the Western European musical canon, Romanticism, the German Lied, and the absolute/program music dichotomy. Students learn to recognize and critique major historical narratives in recognition of current debates surrounding the role of race, gender, disability, and myth in historiography. 2020 Popular Music and Society, University of Ottawa Upper-level survey course, for both music majors and non-majors, covering the history of popular music from 1945 to the present. Topics include performance histories, music and politics, music technology, identity, and genre formation. The ways in which race, class, and gender inflect the performance, production, and consumption of popular music are also addressed. 2016, 2018 Critical Thinking About Music, McGill University Music-history survey course for music majors with a philosophical emphasis. Topics include popular music and identity, exoticism and nationalism in 20th-century music, musical meaning in Mahler symphonies, and controversies over composer biographies from the 12th- to the 18th-centuries. Students learn to diagram arguments and identify logical fallacies while applying these skills to the study of music history and literature. 2013–2015 Popular Music after 1945, McGill University Similar course to Popular Music and Society (see above) but for non-music majors only. 2013 Art of Listening, McGill University Undergraduate music appreciation course for non-majors covering Western classical music from the 8th century to the present. Students study the fundamentals of music, explore the social and cultural significance of music performance, and develop critical listening skills. Co-Instructorships (Team Teaching): 2017 Introduction to Jazz, McGill University, co-taught with Dave Laing Undergraduate music appreciation course for non-majors covering jazz from the late 19th century to the present. In addition to musical style, students study jazz history and performers through music literature and sources readings. Students learn to recognize musical nuances and think critically about how race and gender have impacted the relationship between jazz and society. 2017 Popular Music after 1945, McGill University, co-taught with Landon Morrison See description above. Teaching Assistantships with Weekly Tutorials: 2008–2009 Music History Survey Before and After 1750 Two survey courses for music majors. These courses offer an in-depth study of Western classical music literature, as well as its surrounding social, cultural, political, and historical contexts. Students discuss strategies for analyzing primary sources and musical scores and investigate the challenges scholars face when writing histories and studying them. Attention is given to how various identity categories inform the reception of works and their place in the canon. Workshops Designed and Taught: 2023 Timbre 2023, 3rd International Conference on Timbre, Thessaloniki, Greece “Methods for Analyzing, Composing, and Arranging for Extreme Metal Choir” (co-designed with Pierre-Luc Senécal) 2017 McGill Department of Music Research “Developing a Web Presence for Graduate Students” (co-designed with Kiersten van Vliet) 2014 McGill Writing Centre “Using Sound and Video in Oral Presentations [for doctoral and postdoctoral researchers]” (co-designed with Scott Kushner) Journal Referee and Peer Review CAML Review/Revue de L’ACBM [Canadian Association of Music Libraries] 1 Submission Concentric: Literary & Cultural Studies 1 Submission F1000 Research 1 Submission IASPM Journal 1 Submission Journal of Aesthetics & Culture 1 Submission Journal of Sound and Music in Games 1 Submission Metal Music Studies 6 Submissions Music & Science 1 Submission Musicae Scientiae 1 Submission Music Theory Online 1 Submission Book proposal for Heaviness in Metal Music Production: Uncovering Metal’s Primary Quality by Jan-Peter Herbst and Mark Mynett (Routledge). Book manuscript titled, The “Antihero”: Taylor Swift and Contingent Identities (Lexington Books). Session Chairs 2023 “Mediating Taylor Swift.” IASPM [International Association for the Study of Popular Music] annual international meeting. 2021 “Keynote Interview with Paul Northfield, Recording Engineer,” Progect [sic] 2021: Towards a Contemporary Understanding of Progressive Rock and Metal.” 2019 “Prog-Rock & Progressive Metal.” IASPM-Canada [International Association for the Study of Popular Music] annual meeting. 2017 “Transnational and Translocal Identity/Identité translocale et transnationale.” IASPM-Canada [International Association for the Study of Popular Music] annual meeting. 2016 Moderator, Panel on Gender Politics in Heavy Metal Magazines and Online Discourses. An online discussion to be transcribed and published in the journal Metal Music Studies. 2016 “Border Patrol: On the Politics of Categorizing Musical Practices.” McGill Graduate Symposium. 2014 “Québec’s Musical Heritage.” McGill Graduate Symposium. 2013 “Film Screening: Walls of Sound – A Look Inside the House of Records.” IASPM-Canada [International Association for the Study of Popular Music] annual meeting. 2013 “Readings from Vienna Woods.” McGill Graduate Symposium. 2011 “Compositional Strategies II: Post-war Approaches.” McGill Graduate Symposium. Institutional/Professional Service 2023 Jury, IASPM-Canada Article/Chapter Prize 2022 Jury, “Présence de la musique” competition, Société Québécoise de Recherche en Musique (SQRM) 2021–Present Assistant Editor, IASPM Journal 2017–2021 English Review Editor, MUSICultures journal 2016–2017 Comité scientifique [Reading panel], 2e Colloque étudiant de l’Observatoire interdisciplinaire de création et de recherche en musique (OICRM) 2016 Jury, IASPM-Canada Book Prize 2015 Jury, IASPM-Canada Peter Narvaez Memorial Student Paper Prize 2013–Present Editorial Advisory Board, Metal Music Studies journal 2012 Organizer, “Music and Mass Media” IPLAI Reading Group [Institute for the Public Life of Arts and Ideas] 2012–2013 President, Music Graduate Student Society (MGSS) 2011 Program Committee, International Association for the Study of Popular Music, Canadian National Branch (IASPM-Canada), 2012 annual meeting 2011–2013 Graduate Representative, International Association for the Study of Popular Music, Canadian National Branch (IASPM-Canada) 2009–2010 Chair, McGill Music Graduate Symposium 2009 Reading Panel, McGill Music Graduate Symposium 2008–2009 Organizing Committee, McGill Music Graduate Symposium 2008–2009 Graduate Representative, Music Library Advisory Committee, McGill University Professional Memberships American Musicological Society (AMS) Centre for Interdisciplinary Research in Music Media and Technology (CIRMMT) International Association for the Study of Popular Music (IASPM) International Society for Metal Music Studies (ISMMS) Society for American Music (SAM) Society for Music Theory (SMT) Société Québecoise de Recherche en Musique (SQRM) Languages French (reading knowledge, advanced spoken proficiency) German (reading knowledge, one year of beginner coursework) Latin (reading knowledge, one year of self-directed study) Instruments Electric guitar, electric bass guitar, drum kit, keyboard/basic piano Smialek 16 1