[ 27. November 2013 ]

CALL – Organised Sound ­ Call for Submissions 20/2

Von: Leigh Landy
Betreff: Organised Sound ­ Call for Submissions 20/2
Datum: 27. November 2013 17:09:29 MEZ

Organised Sound: An International Journal of Music and Technology

Call for submissions

Volume, Number 20/2

Issue thematic title: Sound Art and Music: continuum and fissure

Date of Publication: August 2015
Publishers: Cambridge University Press

Issue co-ordinators: Salomé Voegelin (s.voegelin@lcc.arts.ac.uk) and Thomas Gardner (t.gardner@lcc.arts.ac.uk)

The central precept of this call for submissions is that sound art and music evolve in a shared world and the joint navigation of this terrain allows new creative approaches to be taken by artists, curators, theorists and participants (listeners).

The current prominence of sound art has been aided by its relation to a visual arts discourse, but even as this visual affiliation has aided sound art’s recognition, making it more visible, it has obstructed the discussion of its sonic materiality and processes and has neglected its musical heritage and those aspects of its practice that recall that history. Consequently, much contemporary sonic output is not appreciated and approached as a critical response to previous and concurrent musical works but is considered mainly in relation to the concerns of visual practice and theory. As a result contemporary sonic works are not theorised through a musical sensibility – understood in relation to a musical expression and musical questions – nor have they the influence to critique and advance traditional musical practices and our critical engagement with them. Rather, what is highlighted in current sound arts discourse are the conceptual and contextual concerns it shares with visual arts history.

The lack of a jointly elaborated critical framework has consequences for how we perform, install, curate, listen to and write about sonic works. It influences and determines our listening strategies and defines our references as well as the way that sonic materiality and symbolic codifications are understood, discussed and practiced.

This issue of Organised Sound invites a discussion of the relationship between sound art and music, to focus on the relevance of this relationship and to debate how it might impact on the way we listen to and critique sound work, and ultimately also on how we practice sound art and music.

We are inviting submissions from artists and theorists whose work and research relate to and investigate the relationship between sound art and music. Potential topics to be considered include:

– Proposals for languages and strategies that develop a joint territory for sound art and music.
– Arguments suggesting why such a joint territory should not be sought.
– Differences in the identities implied by the terms composer and sound artist
– The influence of electronic media on listening, performance practice and exhibited work.
– Intersections between the listening strategies opened up by sound art and the group actions arising from musical performance (materialities, processes, time and space).
– Case studies and practice-based research which rigorously examine the conceptual connections between sound art and music (creation, exhibition, performance and curation of works).
– How do notions of sentiment and cerebral conceptuality differ in sound art and music?
– Historically situated reappraisals of music and sound art using tools and insights derived from both areas (for example, re-examinations of electroacoustic music, experimental film, historically informed performance practice, the minuet, sound walks).

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 2014


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@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