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<h2 class="">OS Call for Submissions: Which words can we use related to sound and music?</h2>
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<font size="5"><b>Call for submissions</b></font><br>
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<font size="4">Volume 22, Number 3<br>
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Issue thematic title – Which words can we use related to sound and music?<br>
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Date of publication: December 2017<br>
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Extended submission deadline: 15 January 2017<br>
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Issue co-ordinator: Daniel Teruggi (<a title="dteruggi@ina.fr" href="mailto:dteruggi@ina.fr?subject=Organised%20Sound%20special%20issue%20query">dteruggi@ina.fr</a>) </font><br>
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<span style="font-size:10pt;line-height:150%;color:black" lang="EN-GB">In late 2016 the full English translation of the <i>Traité des
Objets Musicaux</i> by Pierre Schaeffer will be published by California
University Press 50 years after its first appearance in French. This important
milestone and the proximity to the 70<sup>th</sup> anniversary of the first <i>Concert
de bruits</i> by Schaeffer in June 1948, which opened the road to <i>musique
concrète</i>, offer a unique opportunity to analyse the way we talk about sound
and music. One of the strong contributions of Schaeffer was to develop a vocabulary
describing sound structure and behaviour, using terms applied to other senses
to identify them thus setting the foundation for the analysis of sound in music
and how our perception creates sense out of sound information.</span><span style="color:black" lang="FR"></span>
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<span style="font-size:10pt;line-height:150%;color:black" lang="EN-GB"><br></span></p><p class="MsoNormal" style="line-height:150%"><span style="font-size:10pt;line-height:150%;color:black" lang="EN-GB">Schaeffer opened
the road to musical research and since then various theories, systems and
environments for analysis have been proposed enriching the vocabulary and the
approaches to the understanding of electroacoustic music and the function of
sound within it. Today, we are rich in ideas and always looking for new ways to
talk about sound and music putting in perspective the evolution of different
currents of thought regarding the nature and use of sound and its incidence in
musical and emotional perception.</span><span style="color:black" lang="FR"></span>
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<span style="font-size:10pt;line-height:150%;color:black" lang="EN-GB"><br></span></p><p class="MsoNormal" style="line-height:150%"><span style="font-size:10pt;line-height:150%;color:black" lang="EN-GB">Sound has always
been the underlying component of music; however, sound today is seen as an
invention process where the musician already expresses his or her musical
intentions which condition the final results. There have been a number of
attempts to classify sounds: either from a purely acoustical point of view or
from a point of view of perception. There is also an intermediate mode, which
is the description of the production process. However the important issues are:
how do composers handle sounds in their representation and classification
systems and what is the position of sound in musical thought?</span><span style="color:black" lang="FR"></span>
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<span style="font-size:10pt;line-height:150%;color:black" lang="EN-GB"><br></span></p><p class="MsoNormal" style="line-height:150%"><span style="font-size:10pt;line-height:150%;color:black" lang="EN-GB">Regarding music,
there exist analytical theories or approaches with a strong tendency over
recent years to consider how sound material conditions the analytical method to
be applied. In this context it is important to investigate the relation between
sound and music, and how musicality is or is not dependent on the sound
environment. How does perception adapt itself to continuously changing sound
environments? How do emotion and pleasure develop and build lasting schemes in
our memory? </span><span style="color:black" lang="FR"></span>
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<span style="font-size:10pt;line-height:150%;color:black" lang="EN-GB">Possible areas of
interest include:</span>
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<ul class=""><li><font size="2"></font><font size="2"><p class="MsoNormal" style="line-height:150%"><font size="2"><font size="2"><span style="font-size:10pt;line-height:150%;color:black" lang="EN-GB">Are there sounds more adapted to music, or is any sound a musical candidate?</span></font></font>
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<span style="font-size:10pt;line-height:150%;color:black" lang="EN-GB">What is the influence of </span><i><span style="font-size:10pt;color:black" lang="EN-GB">musique concrète </span></i><span style="font-size:10pt;color:black" lang="EN-GB">on musical thought today?</span><span style="font-size:10pt;color:black" lang="EN-GB"></span>
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<span style="font-size:10pt;color:black" lang="EN-GB">How is sound
considered in analysing music? Is it just a component or a conditioner
of analysis? In other words, how does sound sound?</span>
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</li><li><span style="font-size:10pt;font-family:"Calibri",sans-serif;color:black" lang="EN-GB"><font size="2" face="Verdana">Can music be 'only sound'? Do continuous sound patterns function as music for our perception?</font></span></li></ul>
<ul class=""><li><span style="font-size:10pt;font-family:"Calibri",sans-serif;color:black" lang="EN-GB"><font size="2" face="Verdana">Looking at different ways of talking about sound: traditional, scientific or morphological</font></span></li></ul>
<ul class=""><li><span style="font-size:10pt;font-family:"Calibri",sans-serif;color:black" lang="EN-GB"><font size="2" face="Verdana">How important is electroacoustic music analysis in education and dissemination?</font></span></li></ul>
<ul class=""><li><span style="font-size:10pt;font-family:"Calibri",sans-serif;color:black" lang="EN-GB"><font size="2" face="Verdana">Can musical essence survive in terms of poor sound reproduction devices or formats?</font></span><br>
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<span style="font-size:10pt;line-height:150%;color:black" lang="EN-GB">As always, submissions
related to the theme are encouraged; however, those that fall outside the scope
of this theme are always welcome.</span><span style="color:black" lang="FR"></span>
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<span style="font-size:10pt;line-height:150%;color:black" lang="EN-GB"><br></span></p><p class="MsoNormal" style="line-height:150%"><span style="font-size:10pt;line-height:150%;color:black" lang="EN-GB">SUBMISSION
DEADLINE: 15 January 2017</span><span style="color:black" lang="FR"></span>
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<span style="font-size:10pt;color:black" lang="EN-GB"><br></span></p><p class="MsoNormal"><span style="font-size:10pt;color:black" lang="EN-GB">SUBMISSION FORMAT: </span><span style="color:black" lang="FR"></span>
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<span style="font-size:10pt;color:black" lang="FR"><br></span></p><p class="MsoNormal"><span style="font-size:10pt;color:black" lang="FR">Notes for Contributors and further details can be
obtained from the inside back cover of published issues of <i>Organised Sound</i>
or <a title="here" href="http://journals.cambridge.org/action/displayMoreInfo?jid=OSO&type=ifc">here</a> (and download the pdf).</span>
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<span style="font-size:10pt;color:black" lang="FR"><br></span></p><p class="MsoNormal"><span style="font-size:10pt;color:black" lang="FR">Properly formatted email submissions and general queries should be sent to: <a title="os@dmu.ac.uk" href="mailto:os@dmu.ac.uk?subject=Organised%20Sound%20-%20query">os@dmu.ac.uk</a>, not to the guest editor.</span>
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<span style="font-size:10pt;color:black" lang="FR"><br></span></p><p class="MsoNormal"><span style="font-size:10pt;color:black" lang="FR">Hard copy of articles and images and other material
(e.g., sound and audio-visual files, etc. – normally max. 15’ sound files or 8’
movie files), both only when requested, should be submitted to:</span><span style="color:black" lang="FR"></span>
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<p class="MsoNormal"><br>
</p><p class="MsoNormal"> Prof. Leigh Landy<br>
Organised Sound<br>
Clephan Building<br>
De Montfort University<br>
Leicester LE1 9BH, <u>UK</u>
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<span style="font-size:10pt;color:black" lang="FR"><br></span></p><p class="MsoNormal"><span style="font-size:10pt;color:black" lang="FR">Editor: Leigh Landy<br>
</span></p><p class="MsoNormal"><span style="font-size:10pt;color:black" lang="FR"><br></span></p><p class="MsoNormal"><span style="font-size:10pt;color:black" lang="FR">Associate Editors: Ross Kirk and Richard Orton†<br>
</span></p><p class="MsoNormal"><span style="font-size:10pt;color:black" lang="FR"><br></span></p><p class="MsoNormal"><span style="font-size:10pt;color:black" lang="FR">Regional Editors: Ricardo Dal Farra, Jøran Rudi, Margaret
Schedel, Barry Truax, Ian Whalley, David Worrall, Lonce Wyse<br>
International Editorial Board: Marc Battier, Manuella
Blackburn, Joel Chadabe, AlessandroCipriani, Simon Emmerson, Kenneth Fields,
Rajmil Fischman, Eduardo Miranda,Rosemary Mountain, Tony Myatt, Jean-Claude
Risset, Mary Simoni, Martin Supper, Daniel Teruggi</span></p><p class="MsoNormal"><span style="font-size:10pt;color:black" lang="FR"><br></span></p><p class="MsoNormal"><span style="font-size:10pt;color:black" lang="FR"><a href="http://goo.gl/RkCELv">http://goo.gl/RkCELv</a><br></span></p><p class="MsoNormal"><span style="font-size:10pt;color:black" lang="FR"><br></span></p></font>-- <br><div class="gmail_signature" data-smartmail="gmail_signature"><div dir="ltr"><div><div dir="ltr"><div><div dir="ltr"><div><div dir="ltr"><div><div dir="ltr"><div>carlos palombini, ph.d. (dunelm)<br>professor de musicologia ufmg<br>professor colaborador ppgm-unirio<br><a href="http://www.proibidao.org" target="_blank">www.proibidao.org</a><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><a href="http://scholar.google.com.br/citations?user=YLmXN7AAAAAJ" target="_blank">scholar.google.com.br/citations?user=YLmXN7AAAAAJ</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></div></div></div></div></div>
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