[ 29. März 2016 ]

CALL – Call for submissions – Organised Sound 22/3 °© Which words can we use related to sound and music?

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

musical candidate?

– 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

and dissemination?

– 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.



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(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

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