[SoundStudies] : CFP (articles)--Organised Sound 20/2, Sound Art and Music

Lynda Paul lynda.paul at yale.edu
Tue Dec 3 12:20:35 EST 2013


Dear all,

See below for details on sound-related CFP.

Best,

Lynda

Lynda Paul, Ph.D.
Postdoctoral Associate in the Integrated Humanities
Yale University

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Organised Sound: An International Journal of Music and Technology
Call for submissions
Volume 20, Number 2
Issue thematic title - Sound Art and Music: continuum and fissure
Date of publication: August 2015
Submission deadline: 15th September 2014
Issue co-ordinators: Salomé Voegelin (s.voegelin at lcc.arts.ac.uk) and Thomas
Gardner (t.gardner at lcc.arts.ac.uk)

The full CFP can be found at:
http://journals.cambridge.org/oso/202/cfp

The central precept of this call for submissions is that sound art and music
evolve in a shared world and the joint navigation of this terrain allows new
creative approaches to be taken by artists, curators, theorists and
participants (listeners).

The current prominence of sound art has been aided by its relation to a visual
arts discourse, but even as this visual affiliation has aided sound art’s
recognition, making it more visible, it has obstructed the discussion of its
sonic materiality and processes and has neglected its musical heritage and
those aspects of its practice that recall that history. Consequently, much
contemporary sonic output is not appreciated and approached as a critical
response to previous and concurrent musical works but is considered mainly in
relation to the concerns of visual practice and theory. As a result
contemporary sonic works are not theorised through a musical sensibility -
understood in relation to a musical expression and musical questions - nor have
they the influence to critique and advance traditional musical practices and our
critical engagement with them. Rather, what is highlighted in current sound arts
discourse are the conceptual and contextual concerns it shares with visual arts
history.

The lack of a jointly elaborated critical framework has consequences for how we
perform, install, curate, listen to and write about sonic works. It influences
and determines our listening strategies and defines our references as well as
the way that sonic materiality and symbolic codifications are understood,
discussed and practiced.

This issue of Organised Sound invites a discussion of the relationship between
sound art and music, to focus on the relevance of this relationship and to
debate how it might impact on the way we listen to and critique sound work, and
ultimately also on how we practice sound art and music.

Organised Sound
http://journals.cambridge.org/oso


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