[Muwisys] Call for submissions ­ "Organised Sound" issue 20/3

[Leigh Landy]

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<mailto:volker.straebel at tu-berlin.de>) and Martin Supper (supper at udk-berlin.de<mailto: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<mailto: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

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