[ 15. Mai 2013 ]

CALL – Organised Sound: An International Journal of Music and Technology

Von: Martin Supper
Betreff: Call for submissions
Datum: 15. Mai 2013 10:04:16 MESZ

Organised Sound: An International Journal of Music and Technology

Call for submissions

Volume 19, Number 3
Issue thematic title: Mediation: Notation and Communication in Electroacoustic Music Performance
Date of Publication: December 2014
Publishers: Cambridge University Press

Issue co-ordinators: Lonce Wyse (lonce.wyse@nus.edu.sg) and Ian Whalley (musik@waikato.ac.nz),

Electroacoustic Music created in real-time is understood as much by the means through which realisers communicate as it is by its sound pallet. 21st century notation innovation turned to graphics as documented by John Cage in his book Notations, and Theresa Sauer in her ’sequel‘, Notations 21, and continues but has now ‚gone live‘. Dynamic scores exploiting film and animation conventions incorporate motion and shape transformation as semiotic devices not available in static scores. Scores are now sometimes generated as the music is being performed, allowing the notator to participate in the listening and response loop blurring boundaries between composition and performance. Audiences have also been invited to participate in creating notation for performers, both prior to and during performance. Performers themselves can generate notation for each other, alternating playing with scribing, or with computational support translating sound into notation.
Notation and communication channels form, structure, facilitate, and enforce relationships between musical participants. No longer are there strict boundaries between creators, conductors, interpreters, and consumers. When these relationships change, so do the ways we listen and thereby construct meaning out of musical practices. The ‚identity‘ of a piece is negotiated in the space between notation and the sound that results from its interpretation. Are there ‚best practices‘ in new notational interpretation strategies?
Is there a sense of aesthetics to the mediated flows of communications that are woven throughout the dramaturgy of real-time performance? Do the aesthetics of electroacoustic music change in the context of new forms of mediation? Is the hyper-visualality of the digital age encroaching upon the hard-won primacy of the ear in an ironic „revenge of the score“?
Performers frequently now use a variety of graphical, audio, and even textual means to communicate during performance. In networked performance, a chat window often sits open on screen displays. How are these modes of communication supported? How do these ‚back channel‘ communications influence listening, performance, and audience reception?
Scholars in media and sonic arts are encouraged to contribute research on any of the following topics (or other related ones):

– Dynamic Scores
– Graphic Scoring/Representation
– The role of ’notations‘ in improvisational environments
– Haptic communication
– The role of gesture in sonic/visual communication
– Colour and sonic/visual communication
– Text communication in real-time works
– The semiotics of new scoring systems
– Interpretation of real-time data streams from the Web
– Back channel‘ communication
– The role of visual representation in communicating with ‚audience‘
– Computer-supported collaborative play
– Enhancing inter-performer awareness
– Integration of communication techniques with established EA music dramaturgy
– Methodologies for evaluating communications in musical contexts
– The relationship between notation and sound
– Aesthetics in real-time communication
– Aesthetics of notation
– Embodiment and notations
– Communication of musical meaning and how we listen
– Acousmatic dislocation and communication
– Communications strategies that redefine relationships between musical participants

As always, submissions related to the theme are encouraged; however, those that fall outside the scope of this theme are also welcome.

Deadline for submissions is 15 January 2014. Submissions consist of papers, with optional supporting short compositions or excerpts, audio-visual documentation of performances and/or other aspects related to your submission that can be placed onto a DVD and the CUP website for „Organised Sound“. Supporting audio and audio-visual material will be presented as part of the journal’s annual DVD-ROM which will appear with issue 19/3 as well on the journal’s website.


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@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 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