[ 4. September 2016 ]

NEWS – Call for papers – Organised Sound issue 23/2 ‚New Wor(l)ds for Old Sounds

Von: Leigh Landy via cec conference

Datum: Fri, 2 Sep 2016

Betreff: [cec-c] Call for papers – Organised Sound issue 23/2 ‚New

Wor(l)ds for Old Sounds

Organised Sound: An International Journal of Music and Technology

Call for submissions

Volume 23, Number 2

Issue thematic title – New Wor(l)ds for Old Sounds

Date of publication: August 2018

Submission deadline: 15 September 2017

Issue co-ordinators: Erika Honisch

and Margaret Schedel margaret.schedel@stonybrook.edu>

Stony Brook University

Evidence for the ‘sonic turn’ in and beyond the humanities is

everywhere: in the calls for papers of recent interdisciplinary

conferences, in the popularity of sound-oriented blogs, in the formation

of sound studies interest groups in academic professional societies, in

the collaborations of electroacoustic composers with social scientists,

and, not least, in the purview of /Organised Sound /itself. It is less

evident—given the general emphasis in sound studies on contemporary

sonic cultures and practices—that a significant line of inquiry focuses

on the richly sonic past. Studies exemplifying this historicist impulse

draw attention to the acoustic properties of ancient and early modern

spaces, and those of more recent built environments (Blesser and Salter,

2007; Fisher, 2014); they search archival documents for the sounds of

colonial encounter (Rath 2005) and the hubbub of England in the

Victorian period and earlier (Picker 2003; Cockayne, 2007); they find

traces of the noisy mediaeval city in manuscript illuminations (Dillon

2012); they document sound and its silencing to trace shifting urban

identities and values (Bjisterveld 2008; Thompson, 2002); they

investigate the properties of instruments and technologies, from

monochords to metronomes, developed to chart interval space and measure

musical time (Grant, 2014); they consider the collision of early

recording technology with traditional Western musical aesthetics

(Rehding, 2005). Collaborative digital projects recreate past sound

worlds, embedding reconstructed sounds in 3D virtual space, as in Mylène

Pardoen’s /The Sounds of Eighteenth-Century Paris

news.cnrs.fr/articles/sound-18th-century-paris , or situating

records (both aural and textual) of sound in specific locations, as with

the ever-expanding London Sound Survey.


The interest in timbre, changing technologies, and acoustics that

animates these projects also drives the work of practitioners and

historians of electroacoustic music. Indeed, the vocabulary and

methodologies developed by electroacoustic musicians to build a sonic

lexicon, research the sounds of the past, and contextualise the impact

of technology on sonic creativity are ideally suited to historically

oriented sound studies.

The purpose of this themed issue of Organised Sound is to explore the

many points of resonance between the questions raised by electroacoustic

specialists and those taken up by scholars who work on the sounds of the

pre-electric past. How can we build bridges between these two exciting

fields? With this in mind, for the ‘New Wor(l)ds for Old Sounds issue,

we invite contributions that experiment with the possibilities of

applying the insights afforded by electroacoustic technologies,

practices and vocabularies to sounds and spaces before the widespread

adoption of electric sound in North America and Europe, roughly 1925. By

its very etymology ‘electroacoustic’ implicates the electric; so while

we could have simply proposed a crossover issue between sound studies

and electroacoustic music, we have chosen instead to be deliberately

provocative to encourage our authors and readers to expand their

conception of the traditional scope of Organised Sound. We are

interested in providing a forum for the projection of electroacoustic

music studies to other pre-electric objects and, conversely, testing out

methodologies as well as the relevance/applicability of historical

knowledge to the current and future initiatives falling squarely within

the journal’s subject domain, electroacoustic music studies.

More specifically, we wish to probe how electroacoustic language might

be fruitfully used to discuss technologies, compositions, and listening

practices before the advent of recording and electronically generated

sound. What kinds of sounds emerge when we examine textual documents or

historical musical instruments using a vocabulary of timbre informed by

electroacoustic music? What do the re-creative possibilities of

electroacoustic technology tell us about the obsolete or imaginary

musical instruments described in music theory treatises (Athanasius

Kircher, Musurgia Universalis,1650); the utopian sound-houses described

by Francis Bacon (The New Atlantis,1624); the ‘invisible music’

channelled into the palace of Christian IV of Denmark (Spohr, 2012); the

acoustic properties of the cavernous Salle des Machines in Berlioz’s

Paris? And on the other hand, how do pre-electric practices and

technologies continue to inform current electroacoustic practices? Taken

together, such questions invite a rethinking of the relationship between

past and present conceptions of timbre, space, and sonic ecology, and

the history of sound-based listening.

Contributors might take up the following questions:

What is an electroacoustic vocabulary for the pre-electric sonic past?

What can we learn if we apply new electroacoustic methodologies to

examine familiar historical objects (musical texts, musical

instruments, resonant spaces)?

* How are current electroacoustic practices shaped and informed by

pre-electric musical technologies?

* How are current electroacoustic technologies used in the study of

pre-electric music?

Which electroacoustic technologies can be deployed to answer

questions about the acoustic properties of colonial village greens,

of Gothic cathedrals, of Baroque theatres, of the factories and

mills of the Industrial Revolution?

* What do we learn when electroacoustic practitioners and historians

take up questions that drive sound studies research (for example,

the interest on aural cultures and listening communities) to shed

light on the history and priorities of electroacoustic music?**

* and….?

As always, submissions related to the theme are encouraged; however,

those that fall outside the scope of this theme are also welcome.

Articles which compare pre-electric and post-electric sound-worlds and

sonic practices are encouraged but in order to be considered ‘on theme’

a substantial portion of the text must address the period before 1925.

We invite contributions from all disciplines, but particularly from

electroacoustic music studies, history, sound studies, musicology and

ethnomusicology, music theory, and history of science.

SUBMISSION DEADLINE: 15 September 2017


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:


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.

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


Bjisterveld, K.2008. Mechanical Sound: Technology, Culture and Public

Problems of Noise in the Twentieth Century/. Cambridge, Mass.: MIT Press.

Blesser, B. and L.-R. Salter. 2007. Spaces speak, are you listening?

Experiencing aural architecture. Cambridge, Mass.: MIT Press.

Cockayne, E. 2007. Hubbub: Filth, Noise & Stench in England 1600-1770.

New Haven: Yale University Press.

Dillon, E. 2012.The Sense of Sound: /Musical Meaning in France,

1260–1330. Oxford, New York: Oxford University Press.

Fisher, A. 2014.Music, Piety, and Propaganda: The Soundscapes of

Counter-Reformation Bavaria. Oxford, New York: Oxford University Press.

Grant, R. 2014.Beating Time and Measuring Music in the Early Modern Era.

Oxford, New York: Oxford University Press.

Picker, J. 2003. Victorian Soundscapes. Oxford, New York: Oxford

University Press.

Rath, R. C. 2005. How Early America Sounded. Ithaca, NY: Cornell

University Press.

Rehding, A. 2005. ‘Wax Cylinder Revolutions’. Musical Quarterly 88

(2005): 123–160.

Spohr, A. 2012. ‘This Charming Invention Created by the King’ –

Christian IV and His Invisible Music. Danish Yearbook of Musicology

39: 13-33.

Thompson, E. 2002. The Soundscape of Modernity: Architectural Acoustics

and the Culture of Listening in America, 1900–1933. Cambridge, Mass: MIT