[ANPPOM-Lista] CFP: Organised Sound (Cambridge): Alternative Histories of Electroacoustic Music

[Carlos Palombini]

*Organised Sound Call for Submissions: Alternative Histories of
Electroacoustic Music*

The story of the genesis and development of electroacoustic music is often
told in the same familiar way. Experiments in *musique concrète *in Paris
and *elektronische Musik *in Cologne played a central role in European
developments, while activities in New York such as those of the
Columbia-Princeton Electronic Music Center, John Cage and his Music for
Tape-Recorders group, and Louis and Bebe Barron are frequently proffered as
the most prominent American contributions. These activities were
significant, of course; but they were not the only progenitors of
modern-day electronic music. There are many, many other ways in which the
story of electronic music’s history and development could be told. (For the
purposes of this call, the term ‘electroacoustic music’ is to all intents
and purposes synonymous with ‘electronic music’, referring broadly to music
in which electronic apparatus is used to produce and/or transform sound.)

There are many ways in which an ‘alternative’ history could be framed. For
example the English musician and musicologist Hugh Davies, in the late
1960s, produced a comprehensive inventory of electronic music compositions,
entitled *International Electronic Music Catalog* (1968), in which he
documented the output of 560 studios in 39 countries. This challenged the
hegemony of the Paris, Cologne, and New York schools, whose activities
dominated the literature of the 1950s and 60s, and as such provided what
was arguably the first *alternative history *of electronic music.

There are many other possibilities for alternative histories, and the
purpose of this thematic issue of *Organised Sound* is to present some of
them. For example: what does electronic music look like if we focus on the
contributions of individuals whose work is less widely known; less widely
recognised? What happens if we step away from the Western European and
North American institutions that are normally figured as central to the
genesis and development of electroacoustic music? Or, what happens if we
question, or explore the mechanisms of, their authority? What happens if we
change our object(s) of study; if we look at artefacts and objects rather
than composers and works, for instance? Are there tools, techniques,
instruments that played an important role in shaping electroacoustic music
that remain under-recognised or misunderstood? What about when we listen to
the marginalised voices; what versions of electroacoustic music’s history
do they tell? Or, what happens if we change our *methods* of study, so as
to highlight aspects that hitherto went unnoticed, such as underlying
social, political, or economic dimensions? How does current music draw on
the origins of the form?

Possible areas of interest include:

   - Pathways from electroacoustic music’s past to electroacoustic music’s
   present that are ‘a little bit different’ from what one might expect.
   - Individuals, institutions, inventions, or perspectives that have been
   neglected or under-represented up to now.
   - Alternative methodological and/or theoretical perspectives; studies
   that encourage us to look at the history of electronic music in a different
   way.
   - Ethnographic, anthropological, and/or interdisciplinary approaches;
   implementation of methods native to science and technology studies (STS);
   other methodological approaches that are apt to reveal ‘alternative
   histories’.
   - Alternative narratives; studies that compel us to attend to, or listen
   to, different things as we navigate electronic music’s history.
   - Marginalised voices; stories of electronic music’s history and
   development that have been side-lined, for whatever reasons.
   - Non-Western European, Non-North American developments, and/or
   activities that happened outside those typically considered in electronic
   music histories.
   - Unconventional or DIY approaches; work that has flouted the norms and
   expectations of its epoch.
   - Developments that have shaped or changed the direction of electronic
   music, but which remain as yet under- or un-recognised.
   - Notions of genre/style/idiom as a lens for alternative histories.
   - Studies that might be thought of as continuing the work that Hugh
   Davies started with his *International Electronic Music Catalog*, for
   example by focusing on the electronic music of under-represented nations,
   and/or the use of electronic sound techniques in disciplines outside the
   immediate sphere of avant-garde art music.
   - Tools, techniques, instruments (etc.) that played an important role in
   shaping electronic music, but which remain under-recognised or
   misunderstood.
   - Interrogating the (perhaps invisible) driving forces behind
   institutions of cultural production, so as to reveal why certain models of
   electronic music dominate, or appear to dominate.
   - Historic perspectives on relationships between electronic music and
   other musical/cultural practices.

Submissions are welcomed from all disciplines, but particularly from
electroacoustic music studies, science and technology studies,
history/philosophy of science/technology, and sound studies.

Prospective authors may be interested to know that an international
conference with the same theme—Alternative Histories of Electronic
Music—will be held at The Science Museum, London, on 15-16 April 2016.
Further information, including a call for conference papers, can be found
at: http://ahem2016.wordpress.com.

As always, submissions related to the theme are encouraged; however, those
that fall outside the scope of this theme are always welcome.
------------------------------

*Issue Co-ordinator*

James Mooney (j.r.mooney em leeds,ac.uk
<mailto:j.r.mooney em leeds.ac.uk?subject=Alternative%20Histories%20of%20Electroacoustic%20Music>)
and Dorien Schampaert (d.schampaert em leeds.ac.uk
<mailto:d.schampaert em leeds.ac.uk?subject=Alternative%20Histories%20of%20Electroacoustic%20Music>
)
------------------------------

Submission Deadline: *15 September 2016*

Submission Format:

*Read the Organised Sound Instructions for Contributors*
<http://journals.cambridge.org/action/displayMoreInfo?jid=OSO&type=ifc>

Properly formatted email submissions and general queries should be sent to:
os em 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
http://goo.gl/0AcUk7

-- 
carlos palombini, ph.d. (dunelm)
professor de musicologia ufmg
professor colaborador ppgm-unirio
www.proibidao.org
ufmg.academia.edu/CarlosPalombini <http://goo.gl/KMV98I>
www.researchgate.net/profile/Carlos_Palombini2
scholar.google.com.br/citations?user=YLmXN7AAAAAJ
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