Organised Sound: An International Journal of Music and Technology

February 10, 2015 in All Opportunities, Composers, Performers by newmusicscotland

Call for submissions

Volume 21, Number 1

Issue thematic title – Style and Genre in Electroacoustic Music

Date of publication: April 2016

Submission deadline: 15 May 2015

Issue co-ordinators: Simon Emmerson ( and Simon Atkinson (

Style and genre are discussed relatively infrequently in the discourse around electroacoustic music; arguably surprisingly little in analysis specifically. This thematic issue aims to encourage discussion of these topics and its potential benefit to scholarship and wider appreciation of the music. Whilst some forms of electronic music practice – notably those that loosely have origins in electronic dance musics – are very much preoccupied with genre, this is not a feature of discussion in the musics regularly written about in Organised Sound.

What characterizes genre or style? The relationships between genre and practice are often complex; ‘circuit-bending’ is a good case in point. So, too, are the relationships between genre and listening practices, for example acousmatic music, field recording, and the lowercase community. For some, acousmatic means genre, for others listening situation. Furthermore, many rich areas of recent practice can be credibly talked about in generic terms, but the practices seem explicitly mindful of closure and rigidity, defining themselves in terms of plurality. What precisely is the Quebec or Birmingham acousmatic ‘sound’? What does the ‘experimental’ in ‘experimental dance music’ really mean? The ever-evolving relationships of studio practices to live music making, perhaps with smart technology, continue to shift all the boundaries, too. Clearly there is a vast range of practices grouped together under the umbrella term ‘electroacoustic music’, with a diversity and plurality of musical landscape that is perhaps without precedent.

What, therefore, are we to understand by this super-genre of electroacoustic music – if indeed it is a super-genre – in scholarly, cultural and social terms? This issue calls for a potentially wide range of contributions and perspectives that might include, but is not restricted to:
–       discussion of specific genres and sub-genres, or relationships between them from musicological and analytical perspectives, or by practitioners for whom questions of style or genre explicitly influence their work

–       social, cultural, historical, economic perspectives

–       studio-based, live and interactive electronic perspectives

–       issues of availability, dissemination, curation, reception

–       the performer’s point of view

–       local, national, global and virtual perspectives

–       technology, techné and faktura

–       historical and contemporary impulses deriving from both modern and postmodern artistic and cultural traditions

–       polystylism, eclecticism, sampling cultures and hybridity

–       ‘art music’ and ‘popular’ practices, culture/counterculture

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



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:, 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