[ 27. August 2015 ]

CALL – Call for submissions – Organised Sound issue 22/2 – Alternative Histories of Electroacoustic Music

Subject: Call for submissions – Organised Sound issue 22/2 –

Alternative Histories of Electroacoustic Music

From: Martin Supper

Call for submissions – Organised Sound issue 22/2 – Altern

Organised Sound: An International Journal of Music and Technology


/Call for submissions/


Volume 22, Number 2

Issue thematic title – Alternative Histories of Electroacoustic Music

Date of publication: August 2017

Submission deadline: 15 September 2016

Issue co-ordinators: James Mooney (j.r.mooney(at)leeds(dot)ac(dot)uk

and Dorien Schampaert


The story of the genesis and development of electroacoustic music is

often told in the same familiar way. Experiments in/musique concrète/ in

Paris and/elektronische Musik/ in Cologne played a central role in

European developments, while activities in New York such as those of the

Columbia-Princeton Electronic Music Center, John Cage and his Music for

Tape-Recorders group, and Louis and Bebe Barron are frequently proffered

as the most prominent American contributions. These activities were

significant, of course; but they were not the only progenitors of

modern-day electronic music. There are many, many other ways in which

the story of electronic music’s history and development could be told.

(For the purposes of this call, the term ‚electroacoustic music‘ is to

all intents and purposes synonymous with ‚electronic music‘, referring

broadly to music in which electronic apparatus is used to produce and/or

transform sound.)

There are many ways in which an ‚alternative‘ history could be framed.

For example the English musician and musicologist Hugh Davies, in the

late 1960s, produced a comprehensive inventory of electronic music

compositions, entitled/International Electronic Music Catalog/ (1968),

in which he documented the output of 560 studios in 39 countries. This

challenged the hegemony of the Paris, Cologne, and New York schools,

whose activities dominated the literature of the 1950s and 60s, and as

such provided what was arguably the first/alternative history/ of

electronic music.

There are many other possibilities for alternative histories, and the

purpose of this thematic issue of/Organised Sound/ is to present some of

them. For example: what does electronic music look like if we focus on

the contributions of individuals whose work is less widely known; less

widely recognised? What happens if we step away from the Western

European and North American institutions that are normally figured as

central to the genesis and development of electroacoustic music? Or,

what happens if we question, or explore the mechanisms of, their

authority? What happens if we change our object(s) of study; if we look

at artefacts and objects rather than composers and works, for instance?

Are there tools, techniques, instruments that played an important role

in shaping electroacoustic music that remain under-recognised or

misunderstood? What about when we listen to the marginalised voices;

what versions of electroacoustic music’s history do they tell? Or, what

happens if we change our/methods/ of study, so as to highlight aspects

that hitherto went unnoticed, such as underlying social, political, or

economic dimensions? How does current music draw on the origins of the form?

Possible areas of interest include:

Pathways from electroacoustic music’s past to electroacoustic

music’s present that are ‚a little bit different‘ from what one might


Individuals, institutions, inventions, or perspectives that have been

neglected or under-represented up to now.

Alternative methodological and/or theoretical perspectives;

studies that encourage us to look at the history of electronic music in

a different way.

Ethnographic, anthropological, and/or interdisciplinary

approaches; implementation of methods native to science and technology

studies (STS); other methodological approaches that are apt to reveal

‚alternative histories‘.

Alternative narratives; studies that compel us to attend to, or

listen to, different things as we navigate electronic music’s history.

Marginalised voices; stories of electronic music’s history and

development that have been side-lined, for whatever reasons.

Non-Western European, Non-North American developments, and/or

activities that happened outside those typically considered in

electronic music histories.

Unconventional or DIY approaches; work that has flouted the

norms and expectations of its epoch.

Developments that have shaped or changed the direction of

electronic music, but which remain as yet under- or un-recognised.

Notions of genre/style/idiom as a lens for alternative histories.

Studies that might be thought of as continuing the work that

Hugh Davies started with his/International Electronic Music Catalog/,

for example by focusing on the electronic music of under-represented

nations, and/or the use of electronic sound techniques in disciplines

outside the immediate sphere of avant-garde art music.

Tools, techniques, instruments (etc.) that played an important

role in shaping electronic music, but which remain under-recognised or


Interrogating the (perhaps invisible) driving forces behind

institutions of cultural production, so as to reveal why certain models

of electronic music dominate, or appear to dominate.

Historic perspectives on relationships between electronic music

and other musical/cultural practices.

Submissions are welcomed from all disciplines, but particularly from

electroacoustic music studies, science and technology studies,

history/philosophy of science/technology, and sound studies.

Prospective authors may be interested to know that an international

conference with the same theme-Alternative Histories of Electronic

Music-will be held at The Science Museum, London, on 15-16 April 2016.

Further information, including a call for conference papers, can be

found at: http://ahem2016.wordpress.com.

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 September 2016


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 (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 OrtonÝ

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