DEGEM News – FWD – [ak-discourse] ‚Organised Sound‘ call for submissions – 27/3 ‚Chinese Electroacoustic Music Today‘

Issue thematic title: Chinese Electroacoustic Music Today

Date of Publication: December 2022

Publishers: Cambridge University Press

Issue co-ordinators: Marc Battier, Shenzhen University, China and IREMUS, Paris, France

Kenneth Fields, Central Conservatory of Music, Beijing, China and UC Santa Barbara, USA

Annie Yen-Ling Liu, Soochow University, China

Deadline for submission: 14 January 2022

This issue is devoted to recent developments of electroacoustic music in China.  More widely, it is addressed to everyone who would like to share views on electroacoustic music in relation to Chinese culture and experience as a whole. The issue seeks to address themes such as recent developments and projects, international collaboration, the teaching of electroacoustic music in the Chinese world, education and experience of Chinese musicians in other parts of the world and electroacoustic music combined with traditional Chinese music instruments. We feel that this culturally focused theme is relevant at this point in time when political and media campaigns seek to distract with images of otherness and international division.

Since Chinese works have shown quite a diverse approach to electroacoustic music, it seems justified to solicit contributions from those who are actors in or have had experience with electroacoustic music in China, or who study how this music is apprehended in the Chinese world.

As is customary with Organised Sound, we encourage contributions of a musicological nature, such as analyses of pieces, reflection on trends and currents and papers which avoid the mere description of one’s works and will consider topics beyond the theme of this issue, such as:

* Network music

* Visual music

* Interactive installations

* New interfaces

* Performance with traditional instruments

            * Music and dance

* Gender

* Intermedia

* Acousmatic music

* Spatialisation

* Historiography

Marc Battier founded the international EMSAN research project (Electroacoustic Music Studies Asia Network) in which Kenneth Fields and Annie Yen-Ling Liu have contributed. This issue will form part of EMSAN’s work which, in the past, has included conferences, publications and a database.

Furthermore, as always, submissions unrelated to the theme but relevant to the journal’s areas of focus are welcome at any time.

 Organised Sound is cited in the Arts & Humanities Citation Index (A&HCI).  A&HCI publications are aimed at art (including music) with the same level of qualification as the Social Sciences Citation Index (SSCI) and thus can be included in a SSCI listing.

SUBMISSION DEADLINE: 14 January 2022

SUBMISSION FORMAT:

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 and other material (e.g., sound and audio-visual files, etc. – normally max. 15′ sound files or 8′ movie files), both only when requested, should be submitted to:

            Prof. Leigh Landy

            Organised Sound

            Clephan Building

            De Montfort University

            Leicester LE1 9BH, UK.

Accepted articles will be published online via FirstView after copy editing prior to the paper version of the journal’s publication.

Editor: Leigh Landy; Associate Editor: James Andean

Founding Editors: Ross Kirk, Tony Myatt 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, Garth Paine, Mary Simoni, Martin Supper, Daniel Teruggi