Subject: Call for submissions – Organised Sound 22/3 °© Which words can
we use related to sound and music?
From: Martin Supper
Call for submissions – Organised Sound 22/3 °© Which words
Organised Sound: An International Journal of Music and Technology
Call for submissions
Volume 22, Number 3
Issue thematic title – Which words can we use related to sound and music?
Date of publication: December 2017
Submission deadline: 15 January 2017
Issue co-ordinator: Daniel Teruggi dteruggi(at)ina(dot)fr
In late 2016 the full English translation of the/Traité des Objets
Musicaux/ by Pierre Schaeffer will be published by California University
Press 50 years after its first appearance in French. This important
milestone and the proximity to the 70th anniversary of the first/Concert
de bruits/ by Schaeffer in June 1948, which opened the road to/musique
concrète/, offer a unique opportunity to analyse the way we talk about
sound and music. One of the strong contributions of Schaeffer was to
develop a vocabulary describing sound structure and behaviour, using
terms applied to other senses to identify them thus setting the
foundation for the analysis of sound in music and how our perception
creates sense out of sound information.
Schaeffer opened the road to musical research and since then various
theories, systems and environments for analysis have been proposed
enriching the vocabulary and the approaches to the understanding of
electroacoustic music and the function of sound within it. Today, we are
rich in ideas and always looking for new ways to talk about sound and
music putting in perspective the evolution of different currents of
thought regarding thenature and use of sound and its incidence in
musical and emotional perception.
Sound has always been the underlying component of music; however, sound
today is seen as an invention process where the musician already
expresses his or her musical intentions which condition the final
results. There have been a number of attempts to classify sounds: either
from a purely acoustical point of view or from a point of view of
perception. There is also an intermediate mode, which is the description
of the production process. However the important issues are: how do
composers handle sounds in their representation and classification
systems and what is the position of sound in musical thought?
Regarding music, there exist analytical theories or approaches with a
strong tendency over recent years to consider how sound material
conditions the analytical method to be applied. In this context it is
important to investigate the relation between sound and music, and how
musicality is or is not dependant on the sound environment. How does
perception adapt itself to continuously changing sound environments? How
do emotion and pleasure develop and build lasting schemes in our memory?
Possible areas of interest include:
– Are there sounds more adapted to music, or is any sound a
– What is the influence of/musique concrète/ on musical thought
– How is sound considered in analysing music? Is it just a
component or a conditioner of analysis? In other words, how does sound
– Can music be ‚only sound‘? Do continuous sound patterns
function as music for our perception?
– Looking at different ways of talking about sound: traditional,
scientific or morphological
– How important is electroacoustic music analysis in education
– Can musical essence survive in terms of poor sound reproduction
devices or formats?
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 January 2017
Notes for Contributors and further details can be obtained from the
inside back cover of published issues of/Organised Sound/ or at the
(and download the pdf)
Properly formatted email submissions and general queries should be sent
to: os(at)dmu(dot)ac(dot)uk, not to the guest editors.
Hard copy of articles and images and other material (e.g., sound and
audio-visual files, etc. – normally max. 15′ sound files or 8′ movie
files0, both only when requested, should be submitted to:
Prof. Leigh Landy
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