Volume 15, Number 2
Issue thematic title: Organising Electroacoustic Music
Date of Publication: August 2010
Publishers: Cambridge University Press
Issue co-ordinator: Simon Emmerson (firstname.lastname@example.org)
It is not possible to define ‘electroacoustic music’ completely - we include all its many genres with their incompatible descriptors – acousmatic, live electronic, interactive, algorithmic, installation, experimental, glitch, post-laptop, live coding – you name it. The range of possibilities for analysis are equally broad (as we see in Stéphane Roy’s L’analyse des musiques electroacoustiques and Leigh Landy’s Understanding the Art of Sound Organization) and more will appear. The field will remain very open. The following four areas are intended not to constrain but to suggest and provoke ideas.
• Who or what organises electroacoustic music?
It might be the composer, the performer, the listener, a ‘system’ (interactive or automatic, software or hardware) – all are potential participants. They may have different roles and relationships.
• How is the music organised?
You might like to examine the creator’s poietic world of intention and realisation, technique, system, method, approach, ‘language’. Or the relation of the creator to the technology, its use, interface, limitations.
You might like to examine a work on its own as an autonomous entity – the sound world, the organisation of its shapes, forms, relationships, functions, processes.
You might like to examine the listener’s reception of the music. The organisation may be imperceptible (why?) or immanent (how?).
Or the relationship of two or more of these, of course (the ‘intention-reception’ issue).
We also accept that a lack of organisation is, after all, a form of organisation. Also that organisation need not necessarily be of human origin.
• How does performance affect organisation?
The music might be affected by where it is composed or performed: a studio, a venue, the internet, a site.
It might be enhanced or (deliberately?) constrained by things mechanical: the instrument, the human-machine interface. Or the performance forces, the instrumentation, sound projection, venue disposition.
It might depend on audience interaction - how is this organised?
• The cultural, philosophical and aesthetic issues of organisation
You may like to question what are we examining. A ‘work’, a process, a performance? Is it fixed or open?
You may wish to discuss languages and models of thinking, either that have been used or that we need to develop, for analytical work in this field.
You may like to tackle the semantic aspects: how and what do sounds in electroacoustic music ‘mean’?
You might like to examine how the social and ecological dimensions of composition and performance influence organisation of the music.
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 for this issue is 1 October 2009. 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 “Organised Sound”. Supporting audio and audio-visual material will be presented as part of the journal's annual DVD-ROM which will appear with issue 15/3 as well on the journal’s website.
SUBMISSION DEADLINE: 1 October 2009
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: email@example.com (not to the guest editor)
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
De Montfort University
Leicester LE1 9BH, UK.
Editor: Leigh Landy
Associate Editors: Ross Kirk and Richard Orton
Regional Editors: Joel Chadabe, Kenneth Fields, Eduardo Miranda, Jøran Rudi, Barry Truax, Ian Whalley, David Worrall
International Editorial Board: Marc Battier, Hannah Bosma, Alessandro Cipriani, Simon Emmerson, Rajmil Fischman, David Howard, Rosemary Mountain, Tony Myatt, Jean-Claude Risset, Francis Rumsey, Margaret Schedel, Mary Simoni
Tuesday, 5 May 2009
Sunday, 3 May 2009
- Midsommar med Stockhausen : 19:e elektronmusikfestivalen i Skinnskatteberg 23-25 juni 2000 : före, under och efter
- Paletten 1/2009 (special issue on sound art)
- Cary, Tristram: Tristram Cary : biographical notes and list of works
- Hanson, Sten: Antediluvianska skrifter
- Hanson, Sten: Works, oeuvres, Werke, arbeten
- Hodell, Åke: Galgenfrist
- Karperyd, Andreas och Eek, Staffan: Typography now : the typographic dance project
- Kindstrand, Gunilla (red.): Kraftfält : Stiftelsen framtidens kultur 1994-2001
- Laaban, Ilmar: Palingarderomb
- Lane, Cathy (red.): Playing with words : the spoken word in artistic practice
- Laurin, Beth och Millroth, Thomas: Beth Laurin : ett urval verk 1953-2008
- Marinetti, Filippo Tommaso: Det futuristiska manifestet eller "Futurismen" : den nyaste litterära skolan
- Shapiro, Peter (red.): Modulations : a history of electronic music : throbbing words on sound
- Strömberg, Mikael: Ljudbiblioteket
- Laurin, Beth: 1984