Organised Sound: An International Journal of Music and Technology

March 20, 2016 in All Opportunities, Composers, electroacoustic, Opportunity, Other Opportunity, Performers by mwhiteside

Organised Sound: An International Journal of Music and Technology

Call for submissions

Volume 22, Number 3

Issue thematic title – Which words can we use related to sound and music?

Date of publication: December 2017

Submission deadline: 15 January 2017

Issue co-ordinator: Daniel Teruggi (dteruggi@ina.fr)

In late 2016 the full English translation of the Traité des Objets Musicaux by Pierre Schaeffer will be published by California University Press 50 years after its first appearance in French. This important milestone and the proximity to the 70th anniversary of the first Concert de bruits by Schaeffer in June 1948, which opened the road to musique concrète, offer a unique opportunity to analyse the way we talk about sound and music. One of the strong contributions of Schaeffer was to develop a vocabulary describing sound structure and behaviour, using terms applied to other senses to identify them thus setting the foundation for the analysis of sound in music and how our perception creates sense out of sound information.

Schaeffer opened the road to musical research and since then various theories, systems and environments for analysis have been proposed enriching the vocabulary and the approaches to the understanding of electroacoustic music and the function of sound within it. Today, we are rich in ideas and always looking for new ways to talk about sound and music putting in perspective the evolution of different currents of thought regarding the nature and use of sound and its incidence in musical and emotional perception.

Sound has always been the underlying component of music; however, sound today is seen as an invention process where the musician already expresses his or her musical intentions which condition the final results. There have been a number of attempts to classify sounds: either from a purely acoustical point of view or from a point of view of perception. There is also an intermediate mode, which is the description of the production process. However the important issues are: how do composers handle sounds in their representation and classification systems and what is the position of sound in musical thought?

Regarding music, there exist analytical theories or approaches with a strong tendency over recent years to consider how sound material conditions the analytical method to be applied. In this context it is important to investigate the relation between sound and music, and how musicality is or is not dependant on the sound environment. How does perception adapt itself to continuously changing sound environments? How do emotion and pleasure develop and build lasting schemes in our memory?

Possible areas of interest include:

–        Are there sounds more adapted to music, or is any sound a musical candidate?
–        What is the influence of musique concrète on musical thought today?
–        How is sound considered in analysing music? Is it just a component or a conditioner of analysis? In other words, how does sound sound?
–        Can music be ‘only sound’? Do continuous sound patterns function as music for our perception?
–        Looking at different ways of talking about sound: traditional, scientific or morphological
–        How important is electroacoustic music analysis in education and dissemination?
–        Can musical essence survive in terms of poor sound reproduction devices or formats?

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 January 2017

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.

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, AlessandroCipriani, Simon Emmerson, Kenneth Fields, Rajmil Fischman, Eduardo Miranda, Rosemary Mountain, Tony Myatt, Jean-Claude Risset, Mary Simoni, Martin Supper, Daniel Teruggi