From LLandy at dmu.ac.uk Wed Mar 19 09:20:17 2014 From: LLandy at dmu.ac.uk (Leigh Landy) Date: Wed, 19 Mar 2014 08:20:17 +0000 Subject: [Muwisys] =?utf-8?q?Call_for_submissions_=C2=AD_=22Organised_Soun?= =?utf-8?q?d=22_issue_20/3?= Message-ID: Organised Sound: An International Journal of Music and Technology Call for submissions Volume 20, Number 3 Issue thematic title: Aesthetic Radicalism, Future and Past Date of Publication: December 2015 Submission deadline: 15th January 2015 Guest Editors: Volker Straebel (volker.straebel at tu-berlin.de) and Martin Supper (supper at udk-berlin.de) In his seminal essay "At the ends of fruitful land?" (1955, Die Reihe 1), Pierre Boulez stated that "[r]arely in the history of music has the musician found himself in a more radical position, faced with as unaccustomed a task as the creation of the very sound itself". In his aim for the structural integration of sound synthesis and musical form, Boulez postulated the historic relevance of serialism as a shift of paradigms in music composition, theory and aesthetics. Since the early 1950s, Boulez claimed, to utilise acoustic instruments and to compose sound colours by merging their spectra became an artistic decision and aesthetic statement rather than a mere technique. If the introduction of sound synthesis as a means of composition was one shift of paradigms connected with electroacoustic sound ? after broadcast, recording and sound manipulation ? it was not meant to be the last. However, one could doubt whether later shifts were as radical in nature. Did developments such as experimental live-electronics, listener participation and mobility, intermedia synchronisation, easier access to means of production and distribution change our conception of music as fundamentally as the disappearance of the hic et nunc that performer and perceiver of music used to share? To further reflect on these questions, we invite contributions that address the notion of radical shifts of paradigms in electroacoustic music aesthetics. Areas of observation might include (and are by no means limited to): * Techniques, conceptions and cultures of music composition, creation, and/or performance * Means, conceptions and cultures of music distribution, consumption and/or reception * Key works that changed our understanding of what music is, and shifts of attitudes towards the concept of masterworks * Systems of aesthetic value, their changes, implications and justifications * Artists? claims of aesthetic radicalism, their structure and function * Shifts of perspectives in aesthetic discourse 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 2015 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 at 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. 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 ===== From pdietz at musikmph.de Sun Mar 30 10:26:10 2014 From: pdietz at musikmph.de (pdietz) Date: Sun, 30 Mar 2014 10:26:10 +0200 Subject: [Muwisys] Preface for study score Message-ID: <203E54EB-1254-4965-AA9C-42C35009B106@musikmph.de> Dear members of the list, at first sorry to send this again, the subject was omitted in our last mail. Below you find a list of works, which we will publish in the next months in our series REPERTOIRE EXPLORER. We would like to invite you to contribute a preface for the following works: Boehe, Ernst - Aus Odysseus Fahrten op.6 Franckenstein, Clemens von - Gesänge für Singstimme und Orchester op.34 Schillings, Max von - Dem Verklärten Berger, Wilhelm - Simfonia VI Berwald, Franz - Konzertstück for Bassoon and Orchestra Berwald, Franz - Konzert für zwei Violinen und Orchester Caturla, Alejandro Garcia - Trois Danses Cubaines pour Orchestre Symphonique Cimarosa, Domenico - Sinfonia D - Dur, Sinfonia B - Dur Cui, Cesar - Fils du Mandarin (Ouvertüre) Cui, Cesar - Zwei Stücke für Cello und Orxchester op 36 Foote, Arthur - Tema con Variaziono (Quartett) Gershwin, George - Cuban Overtire Glasunow, Alexander - Konzertwalzer No. 2 op.51 Glinka, Michail - Drei Stücke für Chor und Orchester Goldmark, Carl - Sappho (Ouvertüre) Götz, Hermann - Quartett in E - Dur op.6 Gretry, André-Ernest-Modeste - La rosière républicaine (Ballettmusik) Grosz, Wilhelm - Rondels (Drei Stimmungsbilder) Hamerik, Asger - Nordische Suite No.1, op.22 Henriques, Fini - Suite pour Hautbois op.12 Herbert, Victor - Serenade Hofmann, Heinrich - "Frithjof" Symphonie Humperdinck, Engelbert / Fried, Oskar - Fantasie über Motive aus Hänsel und Gretel Juon, Paul - Anmut und Würde op.94 Juon, Paul - Burletta für Violine und Orchester op.97 Lassen, Eduard - Festouvertüre für Orchester op. 51 Leoncavallo, Ruggero - Tarantella pour Orchestre Lotti, Antonio - Dies Irae Lyapunov, Sergey Mikhaylovich - Klavierkonzert op.4 Massenet, Jules - Scènes dramatiques Moór, Emanuel - Symphonie für Orchester op.65 Myslivecek, Josef - Ezio (Ouvertüre) Myslivecek, Josef - Tre otteti per due oboi, due clarinetti, due corni e due fagotti Nielsen, Carl - "Masquerade" Ouvertüre Pergolesi, Giovanni Battista - Missa Romana Pilati, Mario - Preludio Aria e Tarantella Rachmaninow, Sergej - Fantasie op.7 Rachmaninow, Sergej - Felsen Reicha, Joseph - Konzert für zwei Hörner und Orchester op.5 Respighi, Ottorino / J.S. Bach - Passacaglia in Do minore Rimsky - Korsakow, Nicolai - Sextett (1876) Rimsky - Korsakow - Nicolai - Symphonie Nr. 1 (Version 1861 - 65 & 1884) Roldan, Amadeo - 3 pequenos poemas Roldan, Amadeo - Motivos de Son für Singstimme und Orchester Romberg - Die Glocke Schreker, Franz - Der Geburtstag der Infantin (Suite) Schulhoff, Erwin - Stücke für zwei Violinen Viola und Violoncello Sinding, Christian - Rondo Infinito Suter, Hermann - Sextett op. 18 Thieriot, Ferdinand - Serenade für Orchester F - Dur op.44 Tschaikowsky, Peter - Symphonie Es - Dur Weingartner, Felix - Lieder für Singstimme und Orchester op.36 Ysaye, Eugene - Caprice d`apès L'Etude en forme de Valse de C. Saint - Saens op.52 Zach, Jan - Konzert für Klavier und Orchester As - Dur op.17 Zelenka, Jan Dismas - Melodrama de Sancto Wenceslao Zemlinsky, Alexander - Der 23. Psalm für gemischten Chor und Orchester The series is dedicated to unjustly neglected works, which are no longer available or were never available before. It is a direct and idealistic response to the fact, that the repertoire of classical music is shrinking every day and many little known pieces are vanishing into oblivion. We hope that our scores will help this music revive and survive. If you want to know more about our activity, please visit our website www.musikmph.de. There you find the catalogue of our study scores which will allow a survey of the fundamental idea of our publication work. Spring greetings from Munich Peter Dietz Musikproduktion Höflich Enhuberstrasse 6-8 Rgb. D - 80333 München Tel 089 - 52 20 81 Fax 089 - 52 54 11 www.musikmph.de