[ 19. März 2014 ]

CALL – Call for submissions ­ „Organised Sound“ issue 20/3


Subject: Call for submissions ­ „Organised Sound“ issue 20/3
Date: Wed, 19 Mar 2014 08:20:17 +0000
From: Leigh Landy

Organised Sound: An International Journal of Music and Technology

Call for submissions
Volume 20, Number 3
Issue thematic title: Aesthetic Radicalism, Future and Past
Date of Publication: December 2015
Submission deadline: 15th January 2015
Guest Editors: Volker Straebel volker.straebel@tu-berlin.de
and Martin Supper

In his seminal essay „At the ends of fruitful land…“ (1955, /Die
Reihe/1), Pierre Boulez stated that „[r]arely in the history of music
has the musician found himself in a more radical position, faced with as
unaccustomed a task as the creation of the very sound itself“. In his
aim for the structural integration of sound synthesis and musical form,
Boulez postulated the historic relevance of serialism as a shift of
paradigms in music composition, theory and aesthetics. Since the early
1950s, Boulez claimed, to utilise acoustic instruments and to compose
sound colours by merging their spectra became an artistic decision and
aesthetic statement rather than a mere technique.

If the introduction of sound synthesis as a means of composition was one
shift of paradigms connected with electroacoustic sound – after
broadcast, recording and sound manipulation – it was not meant to be the
last. However, one could doubt whether later shifts were as radical in
nature. Did developments such as experimental live-electronics, listener
participation and mobility, intermedia synchronisation, easier access to
means of production and distribution change our conception of music as
fundamentally as the disappearance of the /hic et nunc/ that performer
and perceiver of music used to share?

To further reflect on these questions, we invite contributions that
address the notion of radical shifts of paradigms in electroacoustic
music aesthetics. Areas of observation might include (and are by no
means limited to):

Techniques, conceptions and cultures of music composition, creation,
and/or performance
Means, conceptions and cultures of music distribution, consumption
and/or reception
Key works that changed our understanding of what music is, and
shifts of attitudes towards the concept of masterworks
Systems of aesthetic value, their changes, implications and
Artists’ claims of aesthetic radicalism, their structure and function
Shifts of perspectives in aesthetic discourse

As always, submissions related to the theme are encouraged; however,
those that fall /outside/ the scope of this theme are /always/ welcome.



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:

(and download the pdf)

Properly formatted email submissions and general queries should be sent
to: os@dmu.ac.uk , not to the guest editors.

Hard copy of articles 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: Ricardo Dal Farra, Jøran Rudi, Margaret Schedel, Barry
Truax, Ian Whalley, David Worrall, Lonce Wyse

International Editorial Board: Marc Battier, Manuella Blackburn, Joel
Chadabe, Alessandro Cipriani, Simon Emmerson, Kenneth Fields, Rajmil
Fischman, Eduardo Miranda, Rosemary Mountain, Tony Myatt, Jean-Claude
Risset, Mary Simoni, Martin Supper, Daniel Teruggi


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