[ 04. November 2009 ]
Organised Sound: An International Journal of Music and Technology
Call for submissions
Volume 16, Number 1
Issue thematic title: Denis Smalley: his influence on the theory and
practice of electroacoustic music
Date of Publication: April 2011
Publishers: Cambridge University Press
Issue co-ordinator: Andrew Lewis (Diese E-Mail-Adresse ist gegen Spambots geschützt! JavaScript muss aktiviert werden, damit sie angezeigt werden kann. )
Denis Smalley is one of Britain’s foremost exponents of acousmatic music,
and a voice of international influence in both music and words. In marking
his 65th year (2011), this issue aims to re-evaluate and extend the ideas
and issues raised Denis Smalley’s music and writings, to develop their
connections with the work of others, and the UK. It will focus especially,
but not exclusively, on theoretical writings such as ‘Spectromorphology and
Structuring Processes’ (1986), ‘Defining Timbre – Refining Timbre’ (1994),
‘Space-Form and the Acousmatic Image’ (2007), and on the influence of
Smalley’s musical output. New analyses will be welcomed, especially those
which seek to apply or evaluate Smalley’s theoretical ideas through analysis
of his music or that of other composers or the development of future
analytical tools. Naturally, there will be a focus on acousmatic music,
although music with live instruments will not be excluded since it also
features in Smalley’s output.
Questions of relevance include:
• What are the common threads or themes in what has been written by or about
Denis Smalley, and how do these related to his music?
• What is the significance of ‘spectropmorphology’ and ‘spatiomorphology’ to
creative practice today, and what are the practical implications of
spectromorphological thinking for composition and analysis?
• In what ways does Denis Smalley’s music illustrate or support ideas
articulated in his writings? Does the writing inform the composition or is
it the other way around?
• How might Smalley’s theoretical ideas be further developed?
• How do Denis Smalley’s typologies connect with other typologies? What is
the role and value of ‘typologies’ in electroacoustic music generally? Is it
possible to identify trends that might lead to a typological ‘theory of
everything’, or is such a thing impossible?
• Is Smalley’s musical style part of a definable ‘bigger picture’? Does it
stand alone or reside within a network of influences and connections? If so,
are these national, idealogical, temporal, personal…?
• Smalley is considered to be an acousmatic composer despite the fact that
some of his works involve live instruments or voices. What then is
acousmatic music, and what implications does this have for others working
with live performers or interactive electronics?
As always, submissions related to the theme are encouraged; however, those
that fall outside the scope of this theme are always welcome.
Deadline for submissions is 15 June 2010. Submissions may consist of papers,
with optional supporting short compositions or excerpts, audio-visual
documentation of performances and/or other aspects related to your
submission that can be placed onto a DVD and the CUP website for “Organised
Sound”. Supporting audio and audio-visual material will be presented as
part of the journal's annual DVD-ROM which will appear with issue 16/3 as
well on the journal’s website.
SUBMISSION DEADLINE: 15 June 2010
SUBMISSION FORMAT
Notes for Contributors and further details can be obtained from the inside
back cover of published issues of Organised Sound or at the following url:
http://journals.cambridge.org/action/displayMoreInfo?jid=OSO&type=ifc (and
download the pdf)
Properly formatted email submissions and general queries should be sent to:
Diese E-Mail-Adresse ist gegen Spambots geschützt! JavaScript muss aktiviert werden, damit sie angezeigt werden kann. (not to the guest editor)
Hard copy of articles (7,000 words maximum) and images (only when requested)
and other material (e.g., sound and audio-visual files, etc. – normally
max.. 15’ sound files or 8’ movie files) should be submitted to:
Prof. Leigh Landy
Organised Sound
Clephan Building
De Montfort University
Leicester LE1 9BH, UK.
Editor: Leigh Landy
Associate Editors: Ross Kirk and Richard Orton
Regional Editors: Joel Chadabe, Kenneth Fields, Eduardo Miranda, Jøran Rudi,
Barry Truax, Ian Whalley, David Worrall
International Editorial Board: Marc Battier, Hannah Bosma, Alessandro
Cipriani, Simon Emmerson, Rajmil Fischman, David Howard, Rosemary Mountain,
Tony Myatt, Jean-Claude Risset, Francis Rumsey, Margaret Schedel, Mary
Simoni
CALL - for Submissions "Organised Sound" Issue 16/1
From: Leigh Landy Diese E-Mail-Adresse ist gegen Spambots geschützt! JavaScript muss aktiviert werden, damit sie angezeigt werden kann.Organised Sound: An International Journal of Music and Technology
Call for submissions
Volume 16, Number 1
Issue thematic title: Denis Smalley: his influence on the theory and
practice of electroacoustic music
Date of Publication: April 2011
Publishers: Cambridge University Press
Issue co-ordinator: Andrew Lewis (Diese E-Mail-Adresse ist gegen Spambots geschützt! JavaScript muss aktiviert werden, damit sie angezeigt werden kann. )
Denis Smalley is one of Britain’s foremost exponents of acousmatic music,
and a voice of international influence in both music and words. In marking
his 65th year (2011), this issue aims to re-evaluate and extend the ideas
and issues raised Denis Smalley’s music and writings, to develop their
connections with the work of others, and the UK. It will focus especially,
but not exclusively, on theoretical writings such as ‘Spectromorphology and
Structuring Processes’ (1986), ‘Defining Timbre – Refining Timbre’ (1994),
‘Space-Form and the Acousmatic Image’ (2007), and on the influence of
Smalley’s musical output. New analyses will be welcomed, especially those
which seek to apply or evaluate Smalley’s theoretical ideas through analysis
of his music or that of other composers or the development of future
analytical tools. Naturally, there will be a focus on acousmatic music,
although music with live instruments will not be excluded since it also
features in Smalley’s output.
Questions of relevance include:
• What are the common threads or themes in what has been written by or about
Denis Smalley, and how do these related to his music?
• What is the significance of ‘spectropmorphology’ and ‘spatiomorphology’ to
creative practice today, and what are the practical implications of
spectromorphological thinking for composition and analysis?
• In what ways does Denis Smalley’s music illustrate or support ideas
articulated in his writings? Does the writing inform the composition or is
it the other way around?
• How might Smalley’s theoretical ideas be further developed?
• How do Denis Smalley’s typologies connect with other typologies? What is
the role and value of ‘typologies’ in electroacoustic music generally? Is it
possible to identify trends that might lead to a typological ‘theory of
everything’, or is such a thing impossible?
• Is Smalley’s musical style part of a definable ‘bigger picture’? Does it
stand alone or reside within a network of influences and connections? If so,
are these national, idealogical, temporal, personal…?
• Smalley is considered to be an acousmatic composer despite the fact that
some of his works involve live instruments or voices. What then is
acousmatic music, and what implications does this have for others working
with live performers or interactive electronics?
As always, submissions related to the theme are encouraged; however, those
that fall outside the scope of this theme are always welcome.
Deadline for submissions is 15 June 2010. Submissions may consist of papers,
with optional supporting short compositions or excerpts, audio-visual
documentation of performances and/or other aspects related to your
submission that can be placed onto a DVD and the CUP website for “Organised
Sound”. Supporting audio and audio-visual material will be presented as
part of the journal's annual DVD-ROM which will appear with issue 16/3 as
well on the journal’s website.
SUBMISSION DEADLINE: 15 June 2010
SUBMISSION FORMAT
Notes for Contributors and further details can be obtained from the inside
back cover of published issues of Organised Sound or at the following url:
http://journals.cambridge.org/action/displayMoreInfo?jid=OSO&type=ifc (and
download the pdf)
Properly formatted email submissions and general queries should be sent to:
Diese E-Mail-Adresse ist gegen Spambots geschützt! JavaScript muss aktiviert werden, damit sie angezeigt werden kann. (not to the guest editor)
Hard copy of articles (7,000 words maximum) and images (only when requested)
and other material (e.g., sound and audio-visual files, etc. – normally
max.. 15’ sound files or 8’ movie files) should be submitted to:
Prof. Leigh Landy
Organised Sound
Clephan Building
De Montfort University
Leicester LE1 9BH, UK.
Editor: Leigh Landy
Associate Editors: Ross Kirk and Richard Orton
Regional Editors: Joel Chadabe, Kenneth Fields, Eduardo Miranda, Jøran Rudi,
Barry Truax, Ian Whalley, David Worrall
International Editorial Board: Marc Battier, Hannah Bosma, Alessandro
Cipriani, Simon Emmerson, Rajmil Fischman, David Howard, Rosemary Mountain,
Tony Myatt, Jean-Claude Risset, Francis Rumsey, Margaret Schedel, Mary
Simoni
