Subject: Call for submissions – Organised Sound 21/1 Style and Genre
in Electroacoustic Music – Complete Call
Date: Wed, 03 Sep 2014
From: Kevin Austin
Organised Sound: An International Journal of Music and Technology
Call for submissions
Volume 21, Number 1
Issue thematic title – Style and Genre in Electroacoustic Music
Date of publication: April 2016
Submission deadline: 15 May 2015
Issue co-ordinators: Simon Emmerson and Simon Atkinson
Style and genre are discussed relatively infrequently in the discourse
around electroacoustic music; arguably surprisingly little in analysis
specifically. This thematic issue aims to encourage discussion of these
topics and its potential benefit to scholarship and wider appreciation
of the music. Whilst some forms of electronic music practice – notably
those that loosely have origins in electronic dance musics – are very
much preoccupied with genre, this is not a feature of discussion in the
musics regularly written about in Organised Sound.
What characterizes genre or style? The relationships between genre and
practice are often complex; ‘circuit-bending’ is a good case in point.
So, too, are the relationships between genre and listening practices,
for example acousmatic music, field recording, and the lowercase
community. For some, acousmatic means genre, for others listening
situation. Furthermore, many rich areas of recent practice can be
credibly talked about in generic terms, but the practices seem
explicitly mindful of closure and rigidity, defining themselves in terms
of plurality. What precisely is the Quebec or Birmingham acousmatic
‘sound’? What does the ‘experimental’ in ‘experimental dance music’
really mean? The ever-evolving relationships of studio practices to live
music making, perhaps with smart technology, continue to shift all the
boundaries, too. Clearly there is a vast range of practices grouped
together under the umbrella term ‘electroacoustic music’, with a
diversity and plurality of musical landscape that is perhaps without
precedent.
What, therefore, are we to understand by this super-genre of
electroacoustic music – if indeed it is a super-genre – in scholarly,
cultural and social terms? This issue calls for a potentially wide range
of contributions and perspectives that might include, but is not
restricted to:
-discussion of specific genres and sub-genres, or relationships between
them from musicological and analytical perspectives, or by practitioners
for whom questions of style or genre explicitly influence their work
-social, cultural, historical, economic perspectives
-studio-based, live and interactive electronic perspectives
-issues of availability, dissemination, curation, reception
-the performer’s point of view
-local, national, global and virtual perspectives
-technology, „techné“ and „faktura“
-historical and contemporary impulses deriving from both modern and
postmodern artistic and cultural traditions
-polystylism, eclecticism, sampling cultures and hybridity
-‘art music’ and ‘popular’ practices, culture/counterculture
As always, submissions related to the theme are encouraged; however,
those that fall /outside/ the scope of this theme are /always/ welcome.
SUBMISSION DEADLINE: 15 May 2015
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: os(at)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