From llandy at dmu.ac.uk Wed Dec 15 13:25:01 2010 From: llandy at dmu.ac.uk (Leigh Landy) Date: Wed Dec 15 13:25:08 2010 Subject: [Muwisys] Organised Sound Call Message-ID: <24212_1292415906_oBFCP5d2026773_C92E641D.28809%llandy@dmu.ac.uk> Organised Sound: An International Journal of Music and Technology Call for submissions Volume 17, Number 2 Issue thematic title: Composing Motion: a Visual Music Retrospective Date of Publication: August 2012 Publishers: Cambridge University Press Issue co-ordinators: Margaret Schedel, Stony Brook University (mschedel@gmail.com ) and Nick Fox-Gieg, York University (nick@fox-gieg.com ) Visual music holds an important place at the cutting edge of today¹s art, but as a term it has been with us for almost a century. In 1912, art critic Roger Fry coined the term ³visual music² in an attempt to describe Kandinsky¹s paintings, generally recognised to be the first purely abstract canvases. Connecting Kandinsky¹s non-representational art to the abstract nature of music was a way to explain and interpret this new art form. Today, the concept of visual music refers to visuals ³composed and presented with aesthetic strategies and procedures similar to those employed in the composing or performance of music²1. Examples include abstract silent films music, works using manual, mechanical, or algorithmic means of transcoding sound to image, and even pieces which translate image into sound. Visual music has also come to refer to a cross-disciplinary practice, which originated in cinema in the 1930s through the work of filmmakers including Oskar Fischinger, Mary Ellen Bute, and Len Lye. By the 1950s a new generation of animators, including Norman McLaren, began the now commonplace practice of merging the roles of composer and filmmaker by creating sophisticated soundtracks to accompany their images. In the twenty-first century artists can finally perform visuals, whether frame-by-frame or in real time, with the same nuanced control that musicians have had for thousands of years. Artists and musicians thought to be synaesthetes, such as Kandinsky and Scriabin, have played an important role in the development of visual music. Perhaps this is why the ability to create art that mimics the involuntary and instant synaesthetic experience in real-time has long been a paramount goal for many practitioners. While standout individual accomplishments of visual music performance occurred in the analog era, formidable economic barriers limited its development. The recent availability of inexpensive computer technology has allowed audio-visual performance practices, including improvisation, to become widespread, creating a vibrant community of musicians and filmmakers who constantly develop the field. As animation historian William Moritz wrote, ³Since ancient times artists have longed to create with moving lights a music for the eye comparable to the effects of sound for the ear. If they were less successful than composers of auditory music, the sole reason rests in the fact that light is harder to manipulate than air²2. The accessibility and adaptability of today¹s visual music technology makes it possible for us to take the artistic possibilities of earlier analog efforts, such as Œcolour organs¹, out of the museum and put them in the hands of millions of people. The language of electroacoustic music is particularly suited for the abstract imagery of visual music. If music is organised sound then visual music is organised image. Just as sound art ³can no longer be confined to the organisation of notes²3 visual music needs to move beyond a vocabulary developed for static images and instead shift to a gestural language of time-based design. We hope this issue will encourage scholars from both the visual and sonic spheres who will draw upon the scholarship of experimental electroacoustic composition to create compelling investigations of any of the following topics: Tension between sound and vision Surveys and case studies regarding modern or historical visual music Rhetorics for describing, analysing, and critiquing visual music Ontologies of visual music, questions of medium-specificity and modernism Synaesthesia and other cognitive approaches to the perception of visual music Visual music as metaphor for intermedia/multimedia production Visual music, experimental film, and classical film theory Cantastoria, ³lightning artists,² and the performance roots of animation Artist and programmer collaboration then and now Code as the ³new new media² Innovations in procedural graphics and sound Generative algorithms as ³conceptual² visual music The rise of digital video, 1995­2005 New ideas in intermedia telematic collaboration Kandinsky¹s Point and Line to Plane and other algorithmic approaches to visual music Projection mapping in performance As always, submissions related to the theme are encouraged; however, those that fall outside the scope of this theme are always welcome. Deadline for submissions is 15 October 2011. Submissions may 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 ³Organised Sound². Supporting audio and audio-visual material will be presented as part of the journal's annual DVD-ROM which will appear with issue 17/3 as well on the journal¹s website. 1 McDonnell, Maura. 2007. ³Visual Music.² In the Visual Music Marathon Program brochure. 2 Moritz, William. 1986. ³Towards an Aesthetics of Visual Music.² ASIFA Canada Bulletin, Vol. 14:3, Montreal. 3 Wishart, Trevor. 1996. On Sonic Art. Amsterdam: Overseas Publishers Association. Pg 7. SUBMISSION DEADLINE: 15 October 2011 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 (only when requested) and other material (e.g., sound and audio-visual files, etc.‹normally max. 15¹ sound files or 8¹ 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: Joel Chadabe, Lonce Wyse, Eduardo Miranda, Jøran Rudi, Barry Truax, Ian Whalley, David Worrall International Editorial Board: Marc Battier, Hannah Bosma, Alessandro Cipriani, Simon Emmerson, , Kenneth Field, Rajmil Fischman, Rosemary Mountain, Tony Myatt, Jean-Claude Risset, Margaret Schedel, Mary Simoni, Martin Supper ---------------------------------------------------------------------------- --------------------------- ---------------------------------------------------------------------------- --------------------------- From pdietz at musikmph.de Wed Dec 29 14:39:09 2010 From: pdietz at musikmph.de (peter dietz) Date: Wed Dec 29 14:47:29 2010 Subject: [Muwisys] CHRISTMAS EVE libretto wanted Message-ID: <14120_1293630448_oBTDlSHu014264_C940F88D.2DEFB%pdietz@musikmph.de> Dear members of the list, in 2011 we will publish in our study series OPERA EXPLORER Rimsky Korsakov's opera CHRISTMAS EVE as a reprint. Unfortunately the score only contains the libretto in Cyrillic letters. We would like to add the text in English or German. Can somebody help with a hint where to find it or with a scan of the libretto? Thank you and all the best from Munich Einen guten Rutsch Peter Dietz Musikproduktion Höflich Enhuberstrasse 6-8 Rgb. D - 80333 München Tel 089 - 52 20 81 Fax 089 - 52 54 11 pdietz@musikmph.de www.musikmph.de