<div dir="ltr"><div class="gmail_default" style="font-family:arial,helvetica,sans-serif">CFP: Technologies and Recording Industries<br><i>Creative Industries Journal</i>, Special Issue 8.2 (Fall 2015)<br>
<br>
Deadline: March 6, 2015<br>
<br>
The past 15 years have proven transformative for music recording
industries around the world, as digital technologies from the ground up
(mp3s) and the top down (streaming platforms) have helped transform the
landscape of production, promotion, distribution, retail, and fandom.
Yet while these transformations have recently upended assumptions about
musical practice for artists, industry workers, fans, journalists, and
researchers, a broader historical perspective situates them in a legacy
more than a century long. Indeed, a history of recording industries told
from a media and technology perspective is one of constant flux. The
introduction of new media technologies has continually reorganized the
practices, regimes of value, discourses, and power relationships of the
recording business.<br>
<br>
This issue of the Creative Industries Journal seeks to address the
constitutive roles of technologies in shaping recording industry
practices. How have the introduction and adoption of new tools of
production, distribution, promotion, or consumption facilitated changes
in the creative and industrial practices surrounding popular music in a
variety of global contexts? Following Williamson & Cloonan (2007)
and Sterne (2014), we specify “recording industries” instead of “music
industries” to focus attention on the myriad creative and industrial
processes related to music (or, broadly, sound) recordings, and to evade
the tendency to group a variety of disparate music and sound-related
industries (licensing, instrument sales, live performance) under one
heading. We use the plural to assert the multiplicity and variety of
recording industries that have emerged over time, which may not have
anything to do with the current corporate-owned, multinational recording
industry.<br>
<br>
Possible topics for this issue include, but aren’t limited to:<br>
<br>
* Connections between technological formats and genres<br>
* Streaming services and music distribution<br>
* Discourses surrounding the vinyl record resurgence<br>
* Collectors and collecting practices<br>
* Record stores and the recording industries<br>
* New technologies and global/local regimes of representation<br>
* Music, technology, and identity<br>
* Industry practices of the digital music era<br>
* Trade papers and the recording industries<br>
* Media mobility vs. audio fidelity<br>
* Sound recordings and radio<br>
* Television and the recording industry<br>
* Failed or ephemeral formats<br>
* Re-issues and new formats<br>
* Record label histories<br>
* Technological experimentation<br>
* From cylinder to disk<br>
* Recordings as material culture<br>
* The history of personal recordings<br>
* Internationalization of recording technologies/industries<br>
* The recording industry and children’s media<br>
* Spoken-word phonography<br>
* Taste-making and technologies<br>
<br>
To be considered for publication, articles should be between 5000 and
6000 words, double-spaced in Harvard Style. All submissions in these
categories will be blind reviewed. Queries regarding potential
submissions also are welcome. Authors are responsible for acquiring
related visual images and the associated copyrights. For more
information or to submit a query, please contact the issue’s editors
Kyle Barnett (<a href="mailto:kbarnett@bellarmine.edu">kbarnett@bellarmine.edu</a>) or Eric Harvey (<a href="mailto:ericharvey@weber.edu">ericharvey@weber.edu</a>) All submissions are due via email by March 6, 2015.<br><div id=":2xc" class="">
<br>
Creative Industries Journal is a peer reviewed journal with a global
scope, primarily aimed at those studying and practicing activities which
have their origin in individual creativity, skill and talent, and which
have a potential for wealth creation. These activities primarily take
place in advertising, architecture, the art and antiques market, crafts,
design, fashion, film, interactive leisure software, music, the
performing arts, publishing, television and radio.<br><br><a href="http://techandrecordingindustries.tumblr.com/post/98842968976/cfp-technologies-and-recording-industries" target="_blank">http://techandrecordingindustries.tumblr.com/post/98842968976/cfp-technologies-and-recording-industries</a><br><br><a href="http://www.tandfonline.com/loi/rcij20#.VCs7iyldXO8" target="_blank">http://www.tandfonline.com/loi/rcij20#.VCs7iyldXO8</a><br></div></div><br>-- <br><div class="gmail_signature"><div dir="ltr"><div><div dir="ltr"><div>carlos palombini<br>professor de musicologia ufmg<br>professor colaborador ppgm-unirio<br><a href="http://goo.gl/KMV98I" target="_blank">ufmg.academia.edu/CarlosPalombini</a><br></div><div><a href="http://www.researchgate.net/profile/Carlos_Palombini2" target="_blank">www.researchgate.net/profile/Carlos_Palombini2</a><br></div><div></div><div></div><div></div><div></div><div></div><div></div><div></div><div></div><div></div><div></div><div></div><div></div><div></div><div></div><div></div><div></div><div></div><div></div><div></div><div></div><div></div></div></div></div></div>
</div>